Franz Liszt: The Rise of a Comet

If you were to interview Liszt today, he would probably assert that he has two sides to his personality: part of his soul belonged to the Roma and Sinti, the other to the Franciscans. Contemporaries described him as “wise and naive at the same time, as well as dynamic, even reckless, unpredictable yet noble.“ Many of his colleagues envied him his extraordinary success.

From Prodigy to Pop Star

Liszt was the equivalent of a pop star during his time, always surrounded by fans and followers: When Liszt played, his female fans stormed the stage, beleaguered concert venues and sometimes even fainted away. This phenomenon was not entirely unintentional. Liszt's performances were deliberately planned and staged down to the last detail. Not unlike our stars today, he toured the most important concert venues of his time, from South- and Central Europe all the way to Constantinople, St. Petersburg and Moscow.

Liszt always travelled with an entourage and two concert pianos. The logistics of these tours must have been quite a monetary challenge. His income was comparable to that of other outstanding musicians today, but his style of traveling definitely created a few financial difficulties. It looks like the Beatles, Elvis and Elton John had nothing on Franz Liszt when it came to instigating mass hysteria among fans. The „Hexenmeister am Klavier“ did it all 200 years ago.

It is hardly surprising that the virtuoso had a reputation as a womanizer. Liszt had several passionate affairs with educated, bright women among the European aristocracy. His daughter with countess Marie d’Agoult married composer Richard Wagner, whom Liszt supported generously as the father-in-law. Duchess Caroline Sayn-Wittgenstein even planned to leave her husband – an influential duke – and marry Liszt instead. Only a veto from the Vatikan prevented the marriage between the world-renowned musician and the Duchess.

Liszt also went through periods of struggle and depression. As a person of faith, he found a measure of peace in the Christian religion, which had already influenced his childhood in Raiding. At an advanced age, he received his ordination, but continued to be a patron of the music world, gave lessons and fulfilled his function as president of the Royal Academy of Music in Hungary.

Lisztomania

None other than Heinrich Heine, who in 1840 wrote for the Allgemeine Zeitung as Paris correspondent, coined the term „Lisztomanie,“ or Lisztomania. The word perfectly captured the phenomenon of hysteria surrounding Liszt’s stage appearances. What was it, then, that was so fascinating about his almost “diabolical” performance?

Liszt seems to have developed a particular way of playing the piano, even as a child. Carl Czerny, one of his earliest piano tutors took note of this “new and lively” way of using the instrument. Liszt was a passionate showman at the piano. His legacy to the music world was this new interpretation of piano play and the way he brought the keys alive on a concert piano. Of course, all this was fodder for contemporary caricaturists: the colored drawings are valuable works of art and bear witness to this intense period of his life. Lisztomania ended in 1848, after nine years of restless back to back concert tours. At 36, Liszt grew tired and exhausted by fame and endless travels. A new creative period began. Liszt accepted a post as Kapellmeister and court music director in Weimar. An encounter with composer Richard Wagner turned into a close friendship which ended after his daughter Cosima had a relationship with Wagner. Liszt turned to his „Symphonische Dichtungen.“ His compositions reflect his increasing involvement in the church. Liszt alternately lived in Rome and Weimar, where he had many students. In addition, he spent much time in Budapest, where he became president of the new Royal Academy of Music in 1875. A fall down the stairs in his Weimar home caused him long-term health problems. Liszt visited his daughter Cosima in Bayreuth, who had taken over the management of the Festival after the death of her husband. Liszt died of complications from pneumonia on July 31, 1886, and was buried at Bayreuth cemetery.

After the move to Vienna, Liszt was taught by greats such as Czerny and Salieri. Soon he moved to Paris, where he was to receive additional top-notch tutoring. Performances for nobility and high society soon brought him considerable fame. The prodigy from Raiding also traveled to England several times - a performance at Windsor Castle earned him the name “Master Liszt.”

A series of setbacks followed, which Liszt took very much to heart. Some of his works, among them an opera, were not well received. His self-doubts were intensified by several unrequited loves. Liszt turned towards religious and social causes and dedicated much time to sacred music.

Influenced by the success of musical colleagues, especially Paganini, Liszt returns to his compositions. Affairs with ladies from the aristocracy as well as his trips through Europe contribute to a period of outstanding artistic performances. Restless, as if possessed, he toured through many countries and enchanted thousands of music lovers along the way. Lisztomania was born.

Additional stations of his life in Weimar, Budapest and Rome enriched his musical life. As ordained priest he spent much time on the reorganisation of sacred music. Liszt died in 1886 of pneumonia in Bayreuth, where he intended to help his daughter Cosima with the preparations for the festival