DICTIONARY OF MUSIC - El Atril

746 LISZT LISZT
July 31, 1886. His death that night \A'as
absohitely painless.
Since the funeral in the Bayreuth cemetery on
August 3, Liszt's ashes have not been disturbed,
although AVeiraar and Budapest each asserted a
claim to the body ot" the illustrious dead. Cardinal
Haynauld and the Princess Wittgenstein
(lieiress and executrix under his will) gave way
before the wishes of Liszt's sole surviving daughter
Cosima AVagner, supported as they were by
public opinion and the known views of Liszt
liimself, who had not looked with favour on tlie
removal of the remains of Beethoven and Schubert,
and had expressed a hope that it might not
also be his fate to * herumfahren.* These towns,
as well as others, have therefore raised monuments
to the genius who was associated with
them. The memory of Liszt has been honoured
in a practical way in many places. Liszt societies
existed during the master's lifetime, and
they have now been multiplied. Immediately
after the funeral a meeting of the leading musicians
was held at Bayreuth, at which Richter
made a speech and urged that all the living
forces of the artistic world should unite to pre-
serve the memory of the master by perfect renderings
of his own and other modern works.
The Grand Duke of Weimar, Liszt's friend and
protector, sent the intendant of the theatre to
Bayreuth to confer with Richter upon the best
means of perpetuating Liszt's intentions. He
proposed a Liszt foundation after the manner of
the Mozarteum at Salzburg. A Liszt museum
was to be established in the house where he lived
at Weimar, and scholarships were to be offered to
promising young musicians, and on similar lines
scholarships have been instituted elsewhere.
An outcome of this project is the Fondation-
Liszt, instituted by his hrm friend the Duke of
Weimar after his death, to continue instruction
on the basis he had laid.
The first competition for the Liszt Royal
Academy scholarship took place in April 1887.
The scholarship is open for competition by male
and female candidates, natives of any country,
between fourteen and twenty years of age, and
may be awarded to the one who may be judged
to evince the greatest merit in pianoforte
playing or in eoniposition. All candidates have
to pass an examination in general education
before entering the musical contest. The holder
is entitled to three years' free instruction in the
Academy, and after that to a sum for continental
study. [The most important book on
Liszt is L. Ramaun's Franz Liszt als Kiinstler
itTid Mcnsch, the first volume of which appeared
in 1880, and was translated into English by
Miss E. Cowdery (2 vols. 1882). The second
volume of tlio original appeared in 1894.]
Among portraits of the master, the bust executed
by Boehm, and exhibited at the Grosvenor
I For this Englnrni ia indebted to the exertiona of Walter Bache
t{who raised upwards of £T100 for the purpose).
Gallery in 1886, has great interest for English
people, as Liszt sat for it during his visit
to Sydenham in the same year. The head of
Liszt upon his death-bed has been successfully
represented in a plaster cast by Messrs.
Weissbrod & Schnappauf of Bayreuth. On
pp. 149 and 219 of Janka Wohl's volume, and
in the second volume of L. Ramann's life, a
detailed account and list of portraits and paint-
ings may be found. f. h.
The following catalogue of Liszt's works is as
complete as it has been possible to make it ; but
no authoritative catalogue has appeared since
the Thematisches Verzeichniss published by
Breitkox)f und Hartel (as No. 14,373) shortly
before the master's death. The earlier edition
of the catalogue, published in 1855, contained
mention of early editions and some compositions
which Liszt afterwards disowned, so that a really
complete list is still to be desired. This is
compiled Avith the help of the various published
lists, etc.
1. Original.
I. ORCHESTRAL WORKS
1. Symphouie zia Dante'a Divina
Commedia, orch. and female
choi-us : ded. to Wagner. 1. Inferno
; 2. Purgatorio ; 3. MagTiificat.
Score and parts. B. & H.2
Arr. for 2 PFa.
2. Eine Faust-Symphonie in drei
Charakterbilderu (nach
Goethe), orth. aud male chorus :
ded. to Berlioz. 1. Faust; 2.
Gretcheii (alao for PF. 2 hands) ;
i. Mephiatuphelea, Score and
parts ; also for 2 PFa. Schuberth.
3. Zwei Epiaoden aua Lenau's
Faust. 1. Der niichtliche 2ug.
2. DerTanz in der Dorfschenke
(Mephiato-Walzeri, Score and
parta ; also for PF. 2 and 4
hands. Schuberth.
4. SymphoriischeDichtimgen. ].
' Hiiro!de funfibre,' begun in
1830, but not completed until
1849, published in 1857; was at
one time intended to form the
' first movement of a 8ymphonie
Riivolutionnaire,' au intention
never carried out. 2.
Taaao (' Lamen to e Trionfo'),
forte work ; orchestrated in
1848; produced .IS introduction
' to Goethe's Tasso ' at the
Goethe Festival at Weimar,
August 28, 1849; revised in
18S4 and pubiished in 1856. 3.
' Lea Prdludea,' after Lamar-
tine'a ' Miiditationa po^tiquea '
conceived at MarseiUealn 1845;
completed at Weimar In 1850.
4. Hungaria,' sketch dated
1846; published as a ' Him-
' g;irian March for pianoforte ;
orchestrated in 1853 ; revised
in 1856 ; published in 1857. 5.
' Bergsy in phonie '
( ' Ce
qu'on
entj?nd aur la montagne'),
sketch dated 1847; development
and orchestration. 1849;
first performance, 1853, at
Weimar ; revised in 1854 and
again in 185fi; published, 1S57.
6. ' Mazeppa
' dates from about
the aame period aa No. 5, but
was originally destined for a
pianoforte etude (see below, No.
29. 4). enlarged and orchestrated
in 1858 ; published for
'
pianoforte in 1857. 7. ' Prometheus
in original form
dates from 1850, but a complete
revision of the choruses, etc..
for concert purposes with text
by Richard Pohl, followed in
' 1859. 8. Festklinge ' dates
from 1853 ; on the fiftieth an-
niversary of the first perform-
' ance of Schiller's Huldigung
der Ktinste,' it ser\'cd in the
dual capacity of overture in the
theatre and as a mark of respect
for the jubilee of the
entry into power of the Groasflirstin
Marie Paulowna, November
9, 1854. An edition was
published in June 1856, but in
1800 this w.'is revised, added to,
and republished in its new form
as at present known, 9, ' Orpheus,'
conceived in January
1854, during the rehearsals of
' Gluck'a Orfeo ' at Weimar, and
first performed in the middle
of Fehmary of that year. 10.
' Hunnenschlacht,' conceived
in 1856 after Liszt saw Kaulbach's
painting which bears the
same title ; apparently completed
between January and
March 1857. 11. 'Die Ideale
lafter Schiller's poemi, written
for the unveiling of the Goethe-
conceived in 1840 as a piano-
Schiller monument at Weimar,
' September 1857. 12. Hamlet.'
compoaed in 1859, apparently
was not publicly performed until
undertaken by the AUgem.
D. Musikv. at Sondershausen
in 1886. 13. 'Von der Wiege
bia zum Gr;ibe.' founded upon
a sketch by Michael Zichy,
: consists of three parts (1) Die
Wiege; |2| Der Kampf urns
Dasein ; (3) Am Grabe, der
Wiege dea zukUuftigeu Lebena.
5. Fest-Voi-apiel, for Schiller and
Goethe Festival, Weimar, 1857.
Score, Hallberger.
6. Feat - Marsch. for Goethe's
birthday. Score and parts, also
for PF. 2 and 4 hands.
berth.Schu-
7. Huldigungs -Marsch. for acceasion
of Duke Carl of Saxe-
Weimar. 1853. Score; and for
8. ' VomFels
PF. 2 hands. E. & H.
zum Meer' : Patriotic
i^larch. Score and parts ;
also for PF, 2 handa. Schlesinger.
9. Kiinstler Pest-Zug: for Schiller
Festival, 1859. Score; and for
PF. 2 and 4 hands. Kahnt.
10. • Gaudeamus Igitur ; Humoreske
for orch. soli, and chorus
for the centenary of the Academische
Concerten at Jena. 1870.
Score and parts ; also for PF. 2
and 4 handa. Schuberth.
11. Music to Halm's play, 'A
Himdred Year.? Ago' (Prague,
1859), not published.
2 B. & H. = Ereitkopf & Hartel.