Listemann

(list'-S-man), Bernhard [Fried rich Wilhelm], vlt. b. Schlotheim, Thu ring i a, Mar. 25, 1839. Studied with Ullrich, David, Vieuxtemps, and Joachim; concertmaster Rudolstadt 1859-67; came to America with brother Ferdinand L., vlt. (b 1841); traveled with De Meyer; leader Thomas orch., N. Y. 1871-74; founder, condr. Boston Philharmonic Club, of Bost. Philh. Orch. 1879-81; concertmaster Symph. Orch 1881- 85; founder of L. quartet and L. concert co.; 1893, head of vln. dept. Chicago Coll, of Mus.: removed to Boston 1907; returned to Chicago 1910. Liszt (list) Franz, pst., compr. b. Raiding, near Odenburg, Hungary, Oct. 22, 1811; d. Bayreuth, July 31, 1886. Son of Adam L., steward in service of Prince Esterhazy; pf. pupil of his father; after first public appearance at 9, several noblemen contributed sums for future education: at Vienna 1821-23 pupil in pf. of Czerny, and in comp, of Salieri and Rand hart in ger; highly praised by Beethoven and many others, 1823 at Paris, refused admi ion to Cons as foreigner, continued comp, with Reicha and Paer, took no more pf. le ons; 1824/25 played with great succe 161 LISZT in London, 1825 o]3eretta Don Sancfto produced in Paris; 1825-27 tours in Eng. and Switzerland; 1827 death of father made his support nece ary for family and 1S27-39 he lived in Pans, where he was in demand as teacher and player and where he was one of brilliant artistic circle including Lamartine, Victor Hugo, George Sand, Berlioz, Chopin, etc.; beside the influence of these individuals and the general romantic movement, he was much interested in Saint-Simonism but, apparently, never joined its numbers; at this time occurred Ins union with Counte d’Agoult (Daniel Stem); 1839-47 traveled widely over Europe establishing position as greatest of pf. virtuosos m long series of extravagant succe es; 1849-51 lived in Weimar, as conductor of Court Theatre; here he accomplished much for modem music by performing new works, and with the Prince of Sayn-Wittgenstein made his house and Weimar musical center; period of greatest teaching and most important composition; 1859 left Weimar because objections were made to Cornel i us’s Barber of Bagdad; friendly relations were afterward established so that from 1861 till death he divided time between Pesth, Weimar, and Rome; at latter city his early fondne for church rea erted itself and 1879 he was admitted to the minor orders of the pnesthood and gained title Abb4. As a man L. was distinguished among artists for breadth of taste, and deep and real sympathy for fellows expre ed in most practical ways. As pst he was greatest that ever lived; his playing was remarkable for “quiet brilliance of rapid pa ages,” for beauty of feeling as well as for amazing skill; Wagner said of it that it was “production, not reproduction.” As teacher, he was often severe, always inspiring; results must not be judged without remembering that visitors at cla es were sometimes allowed, and that, apparently, many of these claimed to he pupils. As conductor, he was as marvelous as at the piano in interpreting the real intention and ideas of the composer; to his catholicity of taste many owed encouragement; among works which Tie LLOYD brought out at Weimar are Wagner’s Lohengrin, Tannhauser, and Flying Dutchman, and works by Berlioz, Schumann and Schubert. As composer for pf, much of his work transfers to pf. orchestral effects, sometimes at a lo artistically; his transcriptions, however, never err in spirit, seldom in taste; for the voice he wrote 5 ma es, 9 oratorios (2 unpublished), church music and some great songs Gollerich, in his book Franz Liszt (1908), gives a full catalog listing both published and unpublished works. Some of the figures are as follows: Orchestral works, original and arrangements, 69; chamber music, 47; pf. and orch., 16, pf., original and arrangements, 822; melodramas, 8; organ, 47; part songs, 31; songs and ballads with orchestra, 18; songs with piano, 90. His greatest achievement as compr. is invention of form known as “ symphonic poem,” much used by later comprs.; his own Dante and Faust symphonies, Episodes from Lenau’s Faust, etc. illustrate his need of the exterior suggestion of a program and his “transformation” of themes. His literary works, except those relating to Wagner, have only incidental interest; the Life of Chopin is untrustworthy, the Music of the Gypsies unscientific.