In 1834 Liszt emerged as a mature composer with the solo piano piece Harmonies poétiques et religieuses, based on a collection of poems by Alphonse de Lamartine, and the set of three Apparitions. The lyrical style of these works is in marked contrast to his youthful compositions, which reflected the style of his teacher Czerny. In the same year, through the poet and dramatist Alfred de Musset, he met the novelist George Sand and also Marie de Flavigny, countess d’Agoult, with whom he began an affair. In 1835 she left her husband and family to join Liszt in Switzerland; their first daughter, Blandine, was born in Geneva on December 18. Liszt and Madame d’Agoult lived together for four years, mainly in Switzerland and Italy, though Liszt made occasional visits to Paris. He also taught at the newly founded Geneva Conservatory and published a series of essays, “On the Position of Artists,” in which he endeavoured to raise the status of the artist—who up to then had been regarded as a kind of superior servant—to that of a respected member of the community.

Liszt commemorated his years with Madame d’Agoult in the first two books of solo piano pieces collectively named Années de pèlerinage (1837–54; Years of Pilgrimage), which are poetical evocations of Swiss and Italian scenes. He also wrote the first mature version of the Transcendental Études (1838, 1851); these are works for solo piano based on his youthful Étude en 48 exercices, but here transformed into pieces of terrifying virtuosity. He transcribed for the piano six of Paganini’s pieces—five studies and La campanella—and also three Beethoven symphonies, some songs by Franz Schubert, and further works of Berlioz. He made these transcriptions to make the work of these men more available and thus spread the appreciation of their music, which was still greatly neglected at that time. Liszt also wrote a number of fantasias on popular operas of the day and dazzled audiences with them at his concerts.

His second daughter, Cosima, was born in 1837 and his son, Daniel, in 1839, but toward the end of that year his relations with Madame d’Agoult became strained, and she returned to Paris with the children. Liszt then resumed his career as a virtuoso to raise money for the Beethoven Memorial Committee in Bonn for the completion of its Beethoven monument.

For the next eight years Liszt traveled all over Europe, giving concerts in countries as far apart as Ireland, Portugal, Turkey, and Russia. He continued to spend his summer holidays with Madame d’Agoult and the children on the island of Nonnenwerth in the Rhine River until 1844; then they finally parted, and Liszt took the children to Paris. Liszt’s brilliance and success were at their peak during these years as a virtuoso. Everywhere he was received with great adulation; gifts and decorations were showered on him, and he had numerous mistresses, including the dancer Lola Montez and Marie Duplessis. Nevertheless, he still continued to compose, writing songs as well as piano works.

His visit to Hungary in 1839–40, the first since his boyhood, was an important event. His renewed interest in the music of the Roma laid the foundations for his Hungarian Rhapsodies and other piano pieces composed in the Hungarian style. He also wrote a cantata for the Beethoven Festival of 1845, his first work for chorus and orchestra, and some smaller choral works.

Compositions at Weimar

In February 1847 Liszt met the princess Carolyne Sayn-Wittgenstein at Kiev and later spent some time at her estate in Poland. She quickly persuaded him to give up his career as a virtuoso and to concentrate on composition. He gave his final concert at Yelizavetgrad (Kirovograd) in September of that year. Having been director of music extraordinary to the Weimar court in Germany since 1843, and having conducted concerts there since 1844, Liszt decided to settle there permanently in 1848. He was later joined by the princess, who had unsuccessfully tried to obtain a divorce from her husband. They resided together in Weimar, and Liszt now had ample time to compose, as well as to conduct the court orchestra in operas and concerts. This was the period of his greatest production: the first 12 symphonic poems, A Faust Symphony (1854; rev. 1857–61), A Symphony to Dante’s Divina Commedia (1855–56), the Piano Sonata in B Minor (1852–53), the Piano Concerto No. 1 in E-Flat Major (1849; rev. 1853 and 1856), and the Piano Concerto No. 2 in A Major (1839; rev. 1849–61). (A third piano concerto, in E-flat, composed in 1839, was left unperformed during his lifetime and was not discovered until 1988.) During the period in Weimar Liszt also composed the Totentanz for piano and orchestra, revised versions of the Transcendental and Paganini Études and of the first two books of the Années de pèlerinage, choral works, and numerous others. Some of these works had been sketched out in the 1840s or earlier, but, even so, his productivity in this period remains astonishing.

The avant-garde composers of the day regarded Weimar as the one city where modern composers could be heard, and many of them came to Liszt as pupils. The so-called New German school hoisted the banner of modernism, which naturally annoyed the more academic musicians. Some members of the Weimar court also were upset by Liszt’s continued support of the composer Richard Wagner, who had to flee in 1849 with Liszt’s help from Germany to Switzerland because of his political activism. The straitlaced citizens of Weimar also objected strongly to the princess openly living with Liszt, and the grand duchess of Weimar was under pressure from her brother, Nicholas I of Russia, to ban Princess Sayn-Wittgenstein from all court functions. Furthermore, the grand duke who originally appointed Liszt died in 1853, and his successor took little interest in music. Liszt resigned five years later, and, though he remained in Weimar until 1861, his position there became more and more difficult. His son, Daniel, had died in 1859 at the age of 20. Liszt was deeply distressed and wrote the oration for orchestra Les Morts in his son’s memory. In May 1860 the princess had left Weimar for Rome in the hope of having her divorce sanctioned by the pope, and in September, in a troubled state of mind, Liszt had made his will. He left Weimar in August of the following year, and after traveling to Berlin and Paris, where he saw Marie d’Agoult, he arrived in Rome. He and the princess hoped to be married on his 50th birthday. At the last moment, however, the pope revoked his sanction of the princess’s divorce; they both remained in Rome in separate establishments.

Eight years in Rome

For the next eight years Liszt lived mainly in Rome and occupied himself more and more with religious music. He completed the oratorios Die Legende von der heiligen Elisabeth (1857–62) and Christus (1855–66) and a number of smaller works. He hoped to create a new kind of religious music that would be more direct and moving than the rather sentimental style popular at the time. Liszt was one of the few 19th-century musicians to be interested in Gregorian plainsong, but his efforts were frowned on by the ecclesiastical authorities, and much of his sacred music remained unpublished until many years after his death.

In 1862 his daughter Blandine died at the age of 26. Liszt wrote his variations on a theme from the J.S. Bach cantata Weinen, Klagen (Weeping, Mourning) ending with the chorale Was Gott tut das ist wohlgetan (What God Does Is Well Done), which must have been inspired by this event. The princess’s husband died in 1864, but there was no more talk of marriage, and in 1865 Liszt took the four minor orders of the Roman Catholic Church, though he never became a priest. In 1867 he wrote the Hungarian Coronation Mass for the coronation of the emperor Francis Joseph I of Austria as king of Hungary. This commission renewed his links with his native land. Meanwhile, his daughter Cosima, who, at the age of 19, had married Liszt’s favourite pupil, Hans von Bülow, was having an affair with Richard Wagner. She had an illegitimate child by Wagner, which led to a quarrel between the two composers that lasted until 1872.

Last years

In 1869 Liszt was invited to return to Weimar by the grand duke to give master classes in piano playing, and two years later he was asked to do the same in Budapest. From then until the end of his life he divided his time between Rome, Weimar, and Budapest. After a reconciliation with Wagner in 1872, Liszt regularly attended the Bayreuth festivals. He appeared occasionally as a pianist in charity concerts and continued to compose. His music began to lose some of its brilliant quality and became starker, more introverted, and more experimental in style. His later works anticipate the harmonic style of Claude Debussy, and one late work called Bagatelle Without Tonality anticipates Béla Bartók and even Arnold Schoenberg.

In 1886 Liszt left Rome for the last time. He attended concerts of his works in Budapest, Liège, and Paris and then went to London—his first visit there in 45 years—where several concerts of his works were given. He then went on to Antwerp, Paris, and Weimar. He played for the last time at a concert in Luxembourg on July 19. Two days later he arrived in Bayreuth for the festival. His health had not been good for some months, and he went to bed with a high fever, though he still managed to attend two Wagner performances. His illness developed into pneumonia, and Cosima, who was then the director of the festival, left him to the care of a doctor as she managed the performances. He died on July 31.