Edward George Dannreuther

“ The music does not conform to any sufficiently definite musical plan—it is hardly intelligible as music without reference to the programme. Liszt’s masterpiece in orchestral music is the Dante Symphony (1847–1855) , the subject of which was particularly well suited to his temperament, and offered good chances for the display of his peculiar powers as a master of instrumental effect. ”

“ Later, we find him imitating Paganini and Chopin, and at the same time making a really passionate and deep study of Beethoven, Weber, Schubert, Berlioz. Thus gradually was formed the master of style—whose command of the instrument was supreme, and who played like an inspired poet. Liszt’s strange musical nature was long in maturing its fruits. At the pianoforte his achievements culminate in the two books of studies, twice rewritten, and finally published in 1852 as Études d’exécution transcendante, the Études de concert and the Paganini Studies ”

“ Incidents of the poem or the play are illustrated or alluded to as may be convenient, and the exigencies of musical form are not unfrequently disregarded for the sake of special effects. Of the twelve Poèmes symphoniques, Orphée is the most consistent from a musical point of view, and is exquisitely scored. ”

“ His appeal to musicians was made in a threefold capacity, and we have, therefore, to deal with Liszt the unrivalled pianoforte virtuoso (1830–1848) ; Liszt the conductor of the “music of the future” at Weimar, the teacher of Tausig, Bülow and a host of lesser pianists, the eloquent writer on music and musicians, the champion of Berlioz and Wagner (1848–1861) ; and Liszt the prolific composer, who for some five-and-thirty years continued to put forth pianoforte pieces, songs, symphonic orchestral pieces, cantatas, masses, psalms and oratorios (1847–1882) . ”

“ At Vienna he had lessons in pianoforte playing from Carl Czerny of “Velocity” fame, and from Salieri in harmony and analysis of scores. In his eleventh year he began to play in public there, and Beethoven came to his second concert in April 1823. During the three years following he played in Paris, the French provinces and Switzerland, and paid three visits to England. In Paris he had composition lessons from Paër, and a six months’ course of lessons in counterpoint from Reicha. ”