participating. After this success with the sacred oratorio he stopped

139
7. Liszt, Franz (October 22, 1811 – July 31, 1886). He was taught 
the piano by his father, establishing himself as a remarkable concert 
artist by the age of 12. In Paris he studied theory and composition; he 
wrote an opera and bravura piano pieces and undertook tours in France, 
Switzerland and England before ill-health and religious doubt made him 
reassess his career. Intellectual growth came through literature, and the 
urge to create through hearing opera and especially Paganini, whose 
spectacular effects Liszt eagerly transferred to the piano in original 
works.
He gave concerts in Paris, maintaining his legendary reputation, and 
published some essays, but was active chiefly as a composer. To help 
raise funds for the Bonn Beethoven monument, he resumed the life of 
a travelling virtuoso (1839–1847); he was adulated everywhere, from 
Ireland to Turkey, Portugal to Russia. In 1848 he took up a full-time 
conducting post at the Weimar court, where, living with the Princess 
Carolyne Sayn-Wittgenstein, he wrote or revised most of the major 
works for which he is known, conducted new operas by Wagner, Berlioz 
and Verdi and became the figurehead of the “New German school”. 
In 1861–1869 he lived mainly in Rome, writing religious works; from 
1870 he journeyed regularly between Rome, Weimar and Budapest. He 
remained active as a teacher and performer to the end of his life.
Liszt’s personality appears contradictory in its combination of 
romantic abstraction and otherworldliness with a cynical diabolism 
and elegant, worldly manners. But though he had a restless intellect, 
he also was ceaselessly creative, seeking the new in music. He helped 
others generously, as a conductor, arranger, pianist or writer, and 
took artistic and personal risks in doing so. The greatest pianist of his 
time, he composed some of the most difficult piano music ever written 
(e.g. the Transcendental Studies) and had an extraordinarily 
broad repertory, from Scarlatti onwards; he invented the modern piano 
recital.
Piano works naturally make up the greater part of Liszt’s output.
Liszt invented the term “symphonic poem” for orchestral works that 
did not obey traditional forms strictly and were based generally on a 
literary or pictorial idea such as Mazeppa or the three-movement Faust 
Symphony.

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