Page:A Dictionary of Music and Musicians vol 2.djvu/161

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my opinion of him, even before he knew any of my works. He acted not from any artistic sympathy, but led by the purely human wish of discontinuing a casual disharmony between himself and another being; perhaps he also felt an infinitely tender misgiving of having really hurt me unconsciously. He who knows the selfishness and terrible insensibility of our social life, and especially of the relations of modern artists to each other, cannot but be struck with wonder, nay, delight, by the treatment I experienced from this extraordinary man.… At Weimar I saw him for the last time, when I was resting for a few days in Thuringia, uncertain whether the threatening prosecution would compel me to continue my flight from Germany. The very day when my personal danger became a certainty, I saw Liszt conducting a rehearsal of my 'Tannhäuser,' and was astonished at recognising my second self in his achievement. What I had felt in inventing this music he felt in performing it: what I wanted to express in writing it down, he expressed in making it sound. Strange to say, through the love of this rarest friend, I gained, at the moment of becoming homeless, a real home for my art, which I had hitherto longed for and sought for always in the wrong place.… At the end of my last stay at Paris, when ill, miserable, and despairing, I sat brooding over my fate, my eye fell on the score of my "Lohengrin," which I had totally forgotten. Suddenly I felt something like compassion that this music should never sound from off the deathpale paper. Two words I wrote to Liszt: his answer was, the news that preparations for the performance were being made on the largest scale that the limited means of Weimar would permit. Everything that men and circumstances could do, was done, in order to make the work understood.… Errors and misconceptions impeded the desired success. What was to be done to supply what was wanted, so as to further the true understanding on all sides, and with it the ultimate success of the work? Liszt saw it at once, and did it. He gave to the public his own impression of the work in a manner the convincing eloquence and overpowering efficacy of which remain unequalled. Success was his reward, and with this success he now approaches me, saying: "Behold we have come so far, now create us a new work, that we may go still further."'

In addition to the commentaries on Wagner's works just referred to, Liszt has also written numerous detached articles and pamphlets, those on Robert Franz, Chopin, and the music of the Gipsies, being the most important. It ought to be added that the appreciation of Liszt's music in tins country is almost entirely due to the unceasing efforts of his pupil, Mr. Walter Bache, at whose annual concerts many of his most important, works have been produced. Others, such as 'Mazeppa' and the 'Battle of the Huns,' were first heard in England at the Crystal Palace.

The following is a catalogue of Liszt's works, as complete as it has been possible to make it. It is compiled from the recent edition of the thematic catalogue (Breitkopf & Härtel, No. 14,373), published lists, and other available sources.


  1. Original.
    1. 1. Symphonic zu Dante's Divina Commedia, orch. and female chorus: ded. to Wagner. 1. Inferno; 2. Purgatorio; 3. Magnificat. Score and parts. B. & H.[1] Arr. for 2 P.Fs.
    2. Eine Faust-Symphonie in drei Charakterbildern (nach Goethe), orch. and male chorus: ded. to Berlioz. 1. Faust; 2. Gretchen (also for P.F. 2 hands); 3. Mephistopheles. Score and parts; also for 2 P.Fs. Schuberth.
    3. Zwei Episoden aus Lenan's Faust. 1. Der nächtliche Zug. 2. Der Tanz in der Dorfschenke (Mephisto-Walzer). Score and parts; also for P.F. 2 and 4 hands. Schuberth.
    4. Symphonische Dichtungen. 1. Ce qu'on entend sur la montagne; 2. Tasso. Lamento e Trionfo; 3. Les Préludes; 4. Orpheus (also for organ); 5. Prometheus; 6. Mazeppa; 7. Festklänge; 8. Hérolde funèbre; 9. Hungaria; 10. Hamlet; 11. Hunnenschlacht; 12. Die Ideale. Score and parts, also for 2 P.Fs. and P.F. 4 hands. B. & H.
    5. Fest-Vorspiel, for Schiller and Goethe Festival, Weimar 1857. Score, Hallberger.
    6. Fest-Marsch, for Goethe's birthday. Score and parts, also for P.F. 2 and 4 hands. Schuberth.
    7. Huldigungs-Marsch, for accession of Duke Carl of Saxe-Weimar 1853. Score; and for P.F. 2 hands. B. & H.
    8. 'Vom-Fels zum Meer': Patriotic march. Score and parts; also for P.F. 2 hands. Schlesinger.
    9. Kütnstler Fest-Zug; for Schiller Festival 1859. Score; and for P.F. 2 and 4 hands. Kahnt.
    10. 'Gaudeamus Igatur': Humoreske for orch. soli, and chorus. Score and parts; also for P.F. 2 and. 4 hands. Schuberth.
  2. Arrangements.
    1. Schuberts' Marches. 1. op. 40 No. 3; 2.Trauer-; 3. Reiter-; 4. Ungarischer-Marsch. Score and parts. Fürstner.
    2. Schubert's Songs for voice and small orch. 1. Die Junge Nonne; 2. Gretchen am Spinnrade; 3. Lied der Mignon; 4. Erlkönig. Score and parts. Forberg.
    3. 'Die Allmacht,' by Schubert, for tenor, men's chorus, and orchestra. Score and parts; and vocal score. Schuberth.
    4. H. v. Bülow's Mazurka-Fantasle (op. 13). Score and parts. Leuckart.
    5. Festmarch on themes by E. H. zu 8. Score; also for P.F. 2 and 4 hands. Schuberth.

    6. Ungarische Rhapsodien, arr. by Liszt and F. Doppler; 1. in F; 2. in D; 3. in D; 4. in D minor and G major; 5. in E; 6. Pester Carneval.—Score and parts; and for P.F. 4 hands. Schuberth.
    7. Ungarischer Marsch. for Coronation at Buda-Pesth, 1867. Score; also for P.F. 2 and 4 hands. Schuberth.
    8. Rakoczy-Marsch; symphonisch bearbeitet. Score and parts; also for P.F. 2, 4, and 8 hands. Schuberth.
    9. Ungarischer Sturm-Marsch. New arr. 1876. Score and parts; also for P.F. 2 and 4 hands. Schleslnger.
    10. 'Szózat' und 'Hymnus' by Béni and Erkel. Score and parts; also for P.F. Rózsavōlgyi, Pesth.


  1. Original.
    1. Concerto No. 1, in E flat. Score and parts; also for 2 P.Fs. Schlesinger.
    2. Concerto No. 2, in A. Score and parts; also for 2 P.Fs. Schott.
    3. 'Todten-Tanz.' Paraphrase on 'Dies Iræ.' Score; also for 1 and 2 P.Fs. Siegel.
  2. Arrangements, P.F. principale.
    1. Fantasia on themes from Beethoven's 'Ruins of Athens.' Score; also for P.F. 2 and 4 hands, and 2 P.Fs. Siegel.
    2. Fantasie über ungarische Volksmelodlen. Score and parts. Heinze.
    3. Schubert's Fantasia in C (op. 15), symphonisch bearbeitet. Score and parts; also for 2 P.Fs. Schreiber.
    4. Weber's Polonaise (op. 72). Score and parts. Schlesinger.


  1. Original.
    1. Etudes d'éxécution transcendante. 1. Preludio; 2, 3. Paysage; 4. Mazeppa; 5. Feux Follets; 6. Vision; 7. Eroica; 8. Wilde Jagd; 9. Ricordanza; 10, 11. Harmonies du soir; 12. Chasse-neige. B. & H.
    2. Trois Grandes Etudes de Concert. 1. Capriccio; 2. Capriccio, 3. Allegro affetuoso. Kistner.
    3. Ab-Irato. Etude de perfecfection. Schlesinger.
    4. Zwei Concertetuden, for Lebert and Stark's Klavierschule. 1. Waldesrauschen; 2. Gnomenreigen. Trautwein.
    5. Ave Maria for ditto. Trautwein.
    6. Harmonies poétiques et religieuses. 1. Invocation; 2. Ave Maria; 3. Bénédiction de Dieu dans la solitude; 4. Pensée des Morts; 6. Pater Noster; 6. Hymne de l'enfant à son révell; 7. Funérailles; 8. Miserere d'après Palestrina; 9. Andante lagrimoso; 10. Cantique d'Amour. Kahnt.
    7. Années de Pélerinage. Premi'ere Année, Suisse. 1. Chapelle de Guillaume Tell; 2. Au lac de Wallenstadt; 3. Pastorale; 4. Au bord d'une source; 5. Orage; 6. Vallée d'Obermann; 7. Eglogue; 8. Le Mai du Pays; 9. Les Cloches de Geneve (Nocturne). Seconde Année, Italie. 1. Il Sposalizio; 2. Il Penseroso; 3. Canzonetta di Salvator Rosa; 4–6. Tre Sonetti del Petrarca; 7. Après une lecture de Dante.
  1. B. & H. = Breitkopf & Härtel.