Listemann (conductor), 147.
Liszt, Adam, 12, 317;
Anna Lager, 12;
Blandine, 15, 90, 97;
Cosima (see Cosima von Buelow Wagner);
Daniel, 15, 16, 97;
Edward, 169.
Liszt, Franz, abuse of, in Germany, 3;
affectation in his work, 157;
alters harmonic minor scale, 163;
amiability of, 21;
amusing story of conversion, 320-326;
anecdotes, 57, 58, 101, 142, 180, 221, 237, 243, 254, 255, 378;
appreciation of Saint-Saens, 104, 105;
as a teacher, 14, 23;
as Abbe, 18, 50, 97, 267, 275;
biographers of, 51, 55, 56, 101;
birth of, 11, 12;
birthplace of, 13;
boyhood of, 13, 14, 300-305;
in Budapest, 97;
character of his music, 29, 30, 78;
children of, 15, 16, 86, 359;
chivalry of, 11, 34, 56;
Chopin's obligation to, 6, 73-77;
comment on his 13th Psalm, 194, 195;
comparison of established symphonic form with that devised by Liszt,
140;
compared with Wagner, 108, 143, 144;
as composer, 1, 2, 13, 14, 20, 31, 35, 43, 52-56, 86, 90, 103, 144,
327, 377, 409-413;
concerts of, 34, 212, 221, 223, 224, 230, 235, 248, 288, 292, 293,
302, 305, 319;
as conductor, 2, 87, 135, 258, 377;
conducts at Aix-la-Chapelle, 135;
conducts in Berlin, 137;
conducts at Prague, 136;
conducts at Pesth, 94, 96;
conducts in Rome, 94;
conducts in Weimar, 88;
conversation of, 258, 259, 276;
court musical director (Weimar), 22, 46, 47;
creator of the symphonic poem, 26, 27, 106, 139, 140;
criticisms regarding, 2, 8, 14, 17, 21, 64, 153-158, 194, 360, 399;
and the Countess d'Agoult, 14-16, 80, 81, 85, 391;
daily mode of life, 99, 100;
death of, 1, 2, 25, 280;
dedications, 57, 100, 169, 172;
description of his ideal of romantic religious music, 193;
in England, 300-313;
fascinating personality of, 45, 235, 236, 241, 246, 256, 257;
feminine friendships of, 34-43;
fingering, 74, 187;
Freemason, 389;
friendship with Berlioz, 212;
friendship with Cardinal Prince Hohenlohe, 22;
friendship with Chopin, 14, 40;
friendship with Jean Auguste Dominique Ingres, 83, 84;
and Marguerite Gautier, 40;
generosity of, 24, 101, 257, 258;
gifts from sovereigns, 328;
greatest contribution to art, 4;
hand of, 328, 339;
illness of, 44, 135;
impressionability of, 8, 10, 11;
improvisations of, 82, 180, 181;
indebtedness to Chopin, 76;
influence of Berlioz, 17, 55, 411;
influence of Chopin, 17, 145, 411;
influence of gipsy music, 160;
influence of Meyerbeer, 145;
influence of Paganini, 17;
influence of Wagner, 191;
ingratitude of Schumann, 57;
on instruments of percussion, 170, 171;
interest in German art, 90;
interest in Tausig, 362;
interpretation, 87;
interview with, 228, 229;
intimacy with Prince Lichnowsky, 241-243;
intrigues against, 22;
introduces interlocking octaves, 77;
introduces the piano recital, 71, 419;
and Olga Janina, 41;
lack of appreciation of, 31, 141, 229;
and the Countess Adele Laprunarede, 37;
letters of, 9, 35, 37, 44, 46, 92, 135, 136, 138, 143, 150, 169, 170,
171, 179, 194, 195, 197, 219, 279, 280, 289, 290, 394, 414;
literary work of, 19, 20;
in London, 300-313;
loss of Piano Method, Part III, 358;
love affairs of, 2, 3, 19-23, 36-41, 88;
and Lola Montez, 40, 41;
musical style of, 4, 181;
musical imagination, 8, 146;
notation, 187;
number of compositions, 56;
orchestral form, 194;
orchestral instrumentation, 157;
orchestral music of, 32, 123, 190;
as organ composer, 401, 402;
original compositions of, 412, 413;
on origin of his Tasso, 115;
on origin of his Orpheus, 121;
parents of, 12, 14, 251;
in Paris, 13, 24;
patience of, 27;
pedalling, 62, 99, 187;
pen picture of, 57;
personal appearance, 18, 82, 98, 204, 231, 255, 262, 269, 276, 296,
297;
personal characteristics, 2, 3, 17, 66, 71, 327;
pianoforte virtuoso, 1, 2, 8, 14, 16, 18, 43, 56, 73, 94, 106, 247,
251, 252, 420;
piano music of, 10, 11, 53, 66, 123, 168, 187, 409-413;
piano recitals, 82, 83, 179, 308-311, 419;
piano reform, 91;
piano of, 328, 340, 342, 343, 394;
and the Countess Louis Plater, 37;
playing of, 17, 60-64, 87, 99, 141, 161, 208, 214, 223, 224, 232,
233, 238-240, 253, 266, 277, 278, 285, 292, 314, 316, 421;
plays Weber's Sonatas, 207, 208;
plays at Berlioz's, 210;
at Bizet's, 379;
at court of Wurtemburg, 252;
at Karlsruhe, 93;
at Legouve's, 215;
at Munkaczy's, 25;
at Tolstoy's, 102;
at Windsor Castle, 304;
portraits of, 16, 18, 42, 261, 289, 338, 416, 417;
prediction at birth of, 12;
predominating artistic influences, 17;
prophecy of, 100;
public speaking of, 179, 213, 226, 227;
pupils of, 24, 36, 42, 51, 52, 57, 91, 98, 185, 263, 353-388;
alphabetical list of pupils, 353-358;
reading of, 14;
realism of, 67;
reformer of church music, 2;
religious fervor of, 89-92, 97, 98, 196;
residences in and around Rome, 343;
revolutionist, 142;
romanticism of, 11, 14, 28;
in Rome, 78-85, 89-97, 102;
in Russia, 294-300;
and Caroline de Saint-Criq, 36, 37;
and George Sand, 39, 40, 247;
and the Princess Sayn-Wittgenstein, 19-24, 43-51;
Schumann's indebtedness to, 56;
as song writer, 165-168;
started new era in Hungarian music, 160;
statues of, 13, 18, 220, 221, 332;
success of, 13, 52;
as teacher, 14, 97, 100, 209, 339, 358, 395-397;
technique of, 34, 62, 70, 72, 152, 313, 402, 407, 421, 437;
temperament of, 28, 29;
tempo, 164, 165, 187;
testimonials, 328;
theological studies of, 95;
theory of gipsy music, 20;
thought his career a failure, 26;
tirelessness of, 17;
tomb of, 25, 58;
the triangle, 170-172;
tribute by Wagner, 23;
variety of rhythms of, 31;
versatility of, 51, 88, 144;
on virtuosity, 392, 393;
Wagner's indebtedness to, 1, 3, 5, 6, 9, 31, 55, 141-144;
Wagner's praise, 9, 103, 142;
wanderings of, 34, 70, 81, 85, 87, 93, 94-96, 97;
in Weimar, 19, 23, 46, 47, 87, 88, 96, 169, 329;
writing for solo and choral voices, 190.
Liszt, Franz--Works:
Alleluja, 92.
Angelus, 195, 196.
Apparitions, The, 66.
Ave Maria, 92, 224, 294.
Ballad in B minor, 399.
Ballades, 66, 186.
Benediction de Dieu, 143.
Berceuse, 186.
Choere zu Herder's Entfesselte Prometheus, 130, 131.
Chorus of Angels, 196, 197.
Concert Study, 430.
Concertos, 168-174, 187;
Concerto Pathetique in E minor, 66, 177, 178;
Concerto for piano and orchestra, No. 1, in E flat, 67, 168-172;
Concerto for piano, No. 2, in A major (Concert Symphonique), 66,
172-174.
Consolations, 187, 412.
Don Sancho, 14.
Elegier, The, 66.
Etudes, 66, 72, 181-185, 305, 408;
Etude in D flat, 99;
Etude in F minor, No. 10, 72;
Etudes de Concert (three), 72, 184;
Etudes d'execution transcendante (twelve), 72, 86, 181, 182;
Etudes en douze exercices, Op. 1, 181;
Etudes, second set of, 182;
Ab-Irato, 66, 72, 184, 185;
Au Bord d'une Source, 70, 72;
Au Lac de Wallenstadt, 72;
Danse Macabre, 84, 182, 187;
Feux-follets, 72, 184;
Gnomenreigen, 72, 92, 184, 400;
Harmonies du Soir, 72, 183, 184;
Irrlichter, 400;
Ricordanza, 72, 184, 187;
Studies of Storm and Dread, 183;
Vision, 183;
Wilde Jagd, 183;
Waldesrauschen, 72, 92, 184;
Excelsior, 143.
Evocatio in der Sixtinischen Kapelle, 90, 143.
Fantasias, 179-181, 401;
Annees de Pelerinage, 11, 66, 70, 86, 152, 187, 412;
Fantasia on Don Juan, 298, 407, 418, 432;
Fantasia Dramatique, 187;
Fantasia on Reminiscences of Puritani, 82;
Fantasia on Themes by Pacini, 292;
Fantaisie quasi sonata apres une lecture de Dante, 86;
Il Penseroso, 84, 86;
operatic fantasias, 180, 181;
Lucia, 63, 180;
Sonnambula, 180;
Sposalizio, 84, 86;
Tre Sonetti di Petrarca, 86, 187.
Funeral March on occasion of Maximilian of Mexico's death, 96.
Galop Chromatique, 293, 298.
Glanes de Woronice, 25.
Harmonies, 412;
Harmonies Pestiques et Religieuses, 66.
Heilige Caecelia, Die (essay), 84.
Hungarian gipsy music, book on, 19.
Hungarian March, 317.
Legends, 66, 412;
Legend of St. Elisabeth, 88, 90, 143, 191-193, 272, 273, 312;
St. Francis of Assisi's Hymn to the Sun, 88;
St. Francis of Assisi Preaching to the Birds, 92, 186, 412;
St. Francis de Paula Stepping on the Waves, 92, 186, 412.
Masses, 4, 54, 187-194;
Graner Festmesse, 29, 30, 53, 92, 95, 188, 190, 191, 193, 342;
Hungarian Coronation Mass, 95, 96, 189, 190, 270, 271.
Mazurkas, 66, 186.
Mephisto, Waltz, 71, 178, 231.
Nocturnes, 66.
Oratorios, 4, 54;
Oratorio of Christus, 54, 90, 95, 101, 104, 193, 194, 328;
Oratorio of Petrus, 273.
Organ variations on Bach themes, 92, 93;
organ and trombone composition, 88.
Piano arrangements, 86;
Adelaide, 294, 298;
Beethoven symphonies, 87, 90;
Beethoven quartets, 93, 95;
Erlkoenig, 93, 224, 294, 298.
Polonaises, 25, 70, 186.
Psalms, 13, 18, 23, 90, 92, 137, 194, 195;
Thirteenth Psalm, 92, 194, 195.
Rakoczy March, 94, 189, 198-200, 337.
Requiem, 97.
Rhapsodies Hongroises, 53, 65, 100, 157, 158-165, 178, 187, 189, 367,
407, 412;
list of, 158, 159.
Scherzo und Marsch in D minor, 186.
Serenade, 294.
Soirees de Vienne, 25.
Sonata in B minor, 29, 57, 59-70, 186, 187, 425.
Songs, 165-168.
Sonnets after Petrarch, 66.
Studies and fragments, 82.
Study of Chopin, 19.
Symphonic poems, 4, 9, 10, 26, 27, 52, 53, 54, 72, 103, 104, 106-158,
168, 172, 377;
La bataille des Huns, after Kaulbach (Hunnenschlacht), 84, 107,
132, 133, 143, 153;
Ce qu'on Entend sur la montagne (Berg Symphony), 107, 108-112, 153,
328, 415;
Fest-klaenge, 107, 126-129, 136, 153, 328;
From the Cradle to the Grave, 132;
Hamlet, 107, 132, 153;
Heroide funebre, 107, 131, 153, 178;
Hungaria, 132, 153, 328;
L'Ideal, after Schiller, 107, 133-139, 143, 153, 367;
Mazeppa, 72, 103, 107, 123-126, 183, 407;
Orphee, 103, 107, 121, 122, 143, 328;
Les Preludes, after Lamartine, 107, 119-121, 136, 153, 367;
Promethee, 107,122, 123, 130, 131;
Tasso, Lamento and Trionfo, 107, 113-118, 136, 153, 367;
Le Triomphe funebre du Tasse (epilogue), 97, 118, 197.
Symphonies:
Dante Symphony, 11, 19, 38, 53, 94, 102, 104, 143, 146-155;
Faust Symphony, 22, 38, 53, 58, 141-146, 154, 155, 328, 415;
Revolutionary Symphony, 14, 38, 132, 142.
Todtentanz, 174-177, 238, 407, 435.
Transcriptions, 65, 66, 86, 90, 93, 95, 96, 97, 211, 253, 412;
Isolde's Liebestod, 96;
Paganini studies, 184, 185, 223;
Symphonie Fantastique, 211.
Valse-impromptu, 186;
Valse Oubliee, 66.
Liszt fund, 257.
"Liszt und die Frauen" (La Mara), 35, 42.
Litolff, Henri, 19, 169.
Littleton, Alfred, 311;
Augustus, 313;
Henry, 311, 312.
"Le Livre de Caliban" (Bergerat), 320.
Lohengrin (Wagner), 19, 47, 54, 137, 188, 329, 377.
Lorenzetti, Pietro and Ambrogio, 175.
Lotto, Lorenzo, 18.
Louis I, of Bavaria, 89.
Louis, Rudolf (Liszt biographer), 101.
Lytton, Lord, 133.
MacColl, D. S., tribute to music, 32, 33.
MacDowell, Edward (pupil), 24, 425.
Mackenzie, Sir A. C., 195, 312.
Macready (tragedian), notes from diary of, 252.
Madach, "The Tragedy of Mankind," 338.
Madonna del Rosario (cloister), 90.
Maeterlinck, 71.
Mahler, Gustav, 65.
Mai, Cardinal, 83.
Maiden's Lament, The (Schubert's), 167.
Makart, Hans, 338.
Malibran, 82, 204.
Manet, Edouard, 32.
Manns, August, 139.
Marcello, 84.
Margulies, Adele, 436.
Marschner, 6.
Mason, Dr. William (pupil), 19, 143, 434.
Massocia, 79.
Matisse, 28.
Maupassant, Guy de, 26.
Maximilian of Mexico, 96.
Mazurka (Chopin), 65, 186.
Meditations Poetiques (Lamartine's), 119, 204.
Mees, Arthur (conductor), 191.
Mehlig, Anna, 276.
Meistersinger, Die (Wagner), 7.
Melchers, Gari, 332.
Melena, Elpis, 42.
"Memories of a Musical Life" (William Mason), 143.
Mendelssohn, Felix, 3, 31, 53, 66, 73, 85, 105, 293, 300, 309, 400,
409, 411;
Psalm, As the Hart Pants, 293;
Songs without Words, 319.
Menter, Sofie (pupil), 24, 42, 171, 279, 280, 436, 437.
Mercadante, 86.
Merian-Genast, Emilie, 42.
Merry del Val, Mgr., 344.
Mertens-Schaaffhausen, Frau Sibylle, 89.
Methode des Methodes, 185.
Metternich, Prince, 244.
Metternich Princess, 243, 244.
Meyendorff, Baroness Olga de (pupil), 42.
Meyerbeer, 129, 145, 180, 236.
Mezzofanti, Cardinal, 83.
Michelangelo, 9, 28, 84.
Michetti's Beethoven Album, 225.
Mignet, Francois, 14.
Mildner, 212.
Milnes, Monckton (Lord Houghton), 252.
Milozzi, 350.
Minasi, account of conversation with Liszt, 250-252.
Minghetti, Princess, 100.
Mischka (Liszt's servant), 101.