I’m going to the little composer’s room

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

V Rome, Weimar, Budapest (1861-1886)

The 1860s were a period of great sadness in Liszt’s private life. On December 13, 1859, he lost his 20-year-old son Daniel, and on September 11, 1862, his 26-year-old daughter Blandine also died. In letters to friends, Liszt afterwards announced that 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 the Third Order of Saint Francis. On April 25, 1865, he received the tonsure at the hands of Cardinal Hohenlohe. On July 31, 1865, he received the four minor orders of porter, lector, exorcist, and acolyte. After this ordination he was often called Abbé Liszt. On August 14, 1879, he was made an honorary canon of Albano. You can follow the footsteps of Franz Liszt in Rome. Going to Castel Gandolfo in the summer for an audience with the Pope, take offi one train station early. There you will meet Liszt’s friends. And there I was, honey and wine drunk, though in small quantities…
On some occasions, Liszt took part in Rome’s musical life. On March 26, 1863, at a concert at the Palazzo Altieri, he directed a programme of sacred 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, Jommelli, 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.The famous composer was fascinated by the eternal beauty of Rome. There is only one possibility more to extend life: glowing this whole world for a love, and the fame of Rome to give customers. This is what Rome taught me, he had been saying that.
In 1866, Liszt composed the Hungarian coronation ceremony for Franz Joseph and Elisabeth of Bavaria (Latin: Missa coronationalis). The Mass was first performed on June 8, 1867, at the coronation ceremony in the Matthias Church by Buda Castle in a six-section form. After the first performance the Offertory was added, and two years later the Gradual. Liszt was invited back to Weimar in 1869 to give master classes in piano playing. Two years later he was asked to do the same in Budapest at the Hungarian Music Academy. From then until the end of his life he made regular journeys between Rome, Weimar and Budapest, continuing what he called his “vie trifurquée” or threefold existence. It is estimated that Liszt travelled at least 4,000 miles a year during this period in his life – an exceptional figure given his advancing age and the rigors of road and rail in the 1870s. Gyula Andrássy made a new attempt writing on 4 June 1871, to the Hungarian King (the Austrian Emperor Franz Joseph I ), requesting an annual grant of 4,000 Gulden and the rank of a “Königlicher Rat” (“Crown Councillor”) for Liszt, who in return would permanently settle in Budapest, directing the orchestra of the National Theatre as well as musical institutions. The plan of the foundation of a Royal Academy was agreed by the Hungarian Parliament in 1872. In March 1875 Liszt was nominated as President. The Academy was officially opened on November 14, 1875 with Liszt’s colleague Ferenc Erkel as director, Kornél Ábrányi and Robert Volkmann. Liszt himself came in March 1876 to give some lessons and a charity concert. In spite of the conditions under which Liszt had been appointed as “Königlicher Rat”, he neither directed the orchestra of the National Theatre, nor did he permanently settle in Hungary. Typically, he would arrive in mid-winter in Budapest. After one or two concerts of his students by the beginning of spring he left. He never took part in the final examinations, which were in summer of every year. Some of the pupils joined the lessons which Liszt gave in summer in Weimar. In 1873, on the occasion of Liszt’s 50th anniversary as performing artist, the city of Budapest instituted a “Franz Liszt Stiftung” (“Franz Liszt Foundation”), to provide stipends of 200 Gulden for three students of the Academy who had shown excellent abilities with regard to Hungarian music. Liszt alone decided the allocation of these stipends. It was Liszt’s habit to declare all students who took part in his lessons as his private students. As consequence, almost none of them paid any fees to the Academy. A ministerial order of 13 February 1884 decreed that all those who took part in Liszt’s lessons had to pay an annual charge of 30 Gulden. In fact, the Academy was in any case a net gainer, since Liszt donated it revenue from his charity concerts. The first 12 symphonic poems were composed in the decade 1848–58. Liszt’s intent to display the traditional logic of symphonic thought. That logic, embodied in sonata form as musical development, was traditionally the unfolding of latent possibilities in given themes in rhythm, melody and harmony, either in part or in their entirety, as they were allowed to combine, separate and contrast with one another. To the resulting sense of struggle, Beethoven had added an intensity of feeling and the involvement of his audiences in that feeling, beginning from the Eroica Symphony to use the elements of the craft of music – melody, bass, counterpoint, rhythm and harmony -in a new synthesis of elements toward this end. Liszt attempted in the symphonic poem to extend this revitalisation of the nature of musical discourse and add to it the Romantic ideal of reconciling classical formal principles to external literary concepts. To this end, he combined elements of overture and symphony with descriptive elements, approaching symphonic first movements in form and scale. While showing extremely creative amendments to sonata form, Liszt used compositional devices such as cyclic form, motifs and thematic transformation to lend these works added coherence. Their composition proved daunting, requiring a continual process of creative experimentation that included many stages of composition, rehearsal and revision to reach a version where different parts of the musical form seemed balanced. 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 Pélerinage. “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 Claude Debussy and Maurice Ravel. 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, however, without stylistic parallel in the 19th and 20th centuries. At a later stage, Liszt experimented with “forbidden” things such as parallel 5ths in the “Csárdás macabre” and atonality in the Bagatelle sans tonalité (“Bagatelle without Tonality”). Pieces like the “2nd Mephisto-Waltz” are unconventional because of their numerous repetitions of short motives. Also showing experimental characteristics are the Via crucis of 1878, as well as Unstern!, Nuages gris, and the two works entitled La lugubre gondola of the 1880s. Liszt taught his whole life to the students. He 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. Liszt did not charge for lessons. Liszt spoke very fondly of his former teacher- who gave lessons to Liszt free of charge- to whom Liszt dedicated his Transcendental Études.

Epilogue

Liszt fell down the stairs of a hotel in Weimar on July 2, 1881. Though friends and colleagues had noticed swelling in his feet and legs when he had arrived in Weimar the previous month (an indication of possible congestive heart failure), he had been in good health up to that point and was still fit and active. He was left immobilised for eight weeks after the accident and never fully recovered from it. A number of ailments manifested themselves – dropsy, asthma, insomnia, a cataract of the left eye and heart disease. The last-mentioned eventually contributed to Liszt’s death. He became increasingly plagued by feelings of desolation, despair and preoccupation with death – feelings that he expressed 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.” On January 13, 1886, while Claude Debussy was staying at the Villa Medici in Rome, Liszt met him there with Paul Vidal and Victor Herbert. Liszt played Au bord d’une source from his Années de pèlerinage, as well as his arrangement of Schubert’s Ave Maria for the musicians. Debussy in later years described Liszt’s pedalling as “like a form of breathing.” Debussy and Vidal performed their piano duet arrangement of Liszt’s Faust Symphony; allegedly, Liszt fell asleep during this. The composer Camille Saint-Saëns, an old friend, whom Liszt had once called “the greatest organist in the world”, dedicated his Symphony No. 3 “Organ Symphony” to Liszt; it had premiered in London only a few weeks before the death of its dedicatee. Liszt died in Bayreuth, Germany, on July 31, 1886, at the age of 74, 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 part in his death. He was buried on August 3, 1886, in the municipal cemetery of Bayreuth against his wishes. I am looking on Franz Liszt now, portrait by Hungarian painter Miklós Barabás, 1847. Then Liszt in 1858 by Franz Hanfstaeng, Liszt, photo by Franz Hanfstaengl, June 1867. I still see in my dreams and sometimes I breathe the atmosphere of the castles from past centuries. I am fascinated by impressionism. So a couple in love floats in a boat across a park…Then I listen to with metronome counting the wedding music: Tchaikovsky flower waltz, march of slaves, Mozart’s Lacrimosa, then Turkish march, Liszt’s love dreams, Beethoven’s Moonlight sonata, the blue Danube waltz Strauss, Handel sarabanda, Liszt compositions,preludes, Hun’s massacre, Hamlet, Tasso, Orpheus, Promoteus, Hungarian rhapsodies, The transcendental study. And it seems to me already a new nation-time has finally come. (fin)

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