Liszt In Rome

This info from:
Walker, Alan. Franz Liszt: The Final Years. New York: Alfred A. Knopf inc, 1996.
Walker, Alan. Franz Liszt: The Weimar Years. New York: Alfred A. Knopf inc, 1996.

Vatican files
(From the Weimar Years appendix II, p567 - 582)

  • Walker the detective locates vatican's "missing" files on the marriage
  • with Catherine's own testimony and the testimony of her mother, a noble lady-in-waiting and her servants, CW asserts that she had been "compelled with violence and intimidation to contract marriage."
  • her marriage is annulled
  • both Liszt and Carolyne swear that they are single and not promised to anyone else

-they are given the go-ahead to marry in october, 1961

So Why Not Marry?
(from Final Years)

  • p28 wedding is cancelled the night before it is supposed to take place on october 22
  • gustav Hohenlohe (brother of Konstantin Hohenlohe, Princess Marie's husband) writes to the Cardinal Caterini asking him to hear a new testimony agains CW's case
  • Carolyne's cousin Calm-Podowski and two of her female relatives testify that they witnessed CW's and Nicholas' courtship, and that it was not forced.
  • people against Carolyne's marriage:

-Hohenlohes, and Wittgensteins would have lost money
refresher on who the Hohenlohes are - this info from Walker's Liszt, Carolyne, and the Vatican p xii. :
Carolyne's daughter, Marie, marries Konstantin von Hohenlohe in the CAtholic church in Weimar. The marriage may be part of a complex agreement between the Wittgenstein adn Hohenlohe families to retain control of Marie's fortune in exchange for their complicity in securing Carolyne's annulment. They still try to stop the annulment, however.
-Iwanowskys just hate her - remember the fake will incident
-CW's daughter Marie and her Grandchildren will be branded as illegitimate if the marriage is annulled.

  • Carolyne decides not to pursue the matter.

Liszt's Friends in Rome

  • Baron Felix von Meyendorff - (nephew of?)Russian ambassador to Rome
  • his wife, Olga von Meyendorff - she and L very close
  • Monsignor Francesco Nardi
  • Duke Michelangelo Caetani
  • Prussian ambassador Count Harry von Arnim
  • new puils Giovanni Sgambati (Italian) and Walter Bache (english). Lesser pupils: Ettore Pinelli, Carlo Lippi, Gilda Perini
  • Father Augustin - formerly pupil Hermann Cohen "Puzzi"
  • Ferdinand Gregorovius - historian
  • Olliver Isnard - Blandine's husband/widow :(
  • Father Agostino Theiner
  • Pope Pius IX
  • Gustav Hohenlohe (ironically)

A Helpful Chronology from the forward to Walker's Liszt, Carolyne, and The Vatican pxiii thru xiv

  • 1861:
  • January 7: Pius IX ratifies the judgement of the Cardinals, and it is released the following day. Liszt and Carolyne are now legally free to marry within the catholic church
  • October 20: Liszt arrives in Rome, in readiness for his marriage to Carolyne which is planned to take place in the church of San carlo al Corso two days later, his fiftieth birthday. The pair go to the Vatican in order to swear out statements and to have the reading of the banns (public marriage announcements) waived. Monsignor Hohenlohe has meanwhile procured witnesses from Ukraine to testify that the annulment was obtained through perjured evidence.
  • October 21: Carolyne receives a message from San Carlo church that the wedding must be postponed. Shortly afterwards she moves into apartments on the Via Babuino. Liszt takes up separate quarters at 113 Via Felice.
  • 1861:
  • Liszt decides to stay in Rome and enters into the city's musical life. He becomes a familiar figure in the homes of the upper clergy, including monsignor Francesco Nardi. He is also introduced to the powerful Caetani family.
  • August 10: LIszt completes his oratorio St. Elisabeth
  • September 11: His daughter Blandine dies
  • 1863:
  • June: Liszt moves into the Madonna del Rosario, on the Monte Mario, just outside Rome. In this isolated retreat he finishes a number of his compositions, including the oratorio Christus. He is visited by Pius IX to whom he plays one of his newly composed "Franciscan Legends." From this time Liszt becomes better acquainted with Pope Pius IX. He plays before the music-loving pontiff a number of times at the latter's special request, both in the Vatican and at the Pope's summer residence in Castel Gandolfo. Pius clearly enjoys these encounters and takes to calling Liszt "my dear Palestrina." It is often rumored that Liszt is to become director of music at St. Peter's in Rome, but LIszt himself expresses no interest in the idea.
  • 1864:
  • March: Prince Nicholas von Sayn-Wittgenstein dies. However, there is no further talk of a marriage between Liszt and Carolyne.
  • June: Liszt agrees to request from Pius IX to take part in a great charity concert for Peter's Pence at the camp of the Pretorian Guard.
  • July: He accepts an invitation to visit the Pope at his summer retreat in Castel Gandolfo, and he plays for the POntiff and his entourage. He also travels to the old town of Albano, whose Canon he later becomes.
  • 1865:
  • April 25: Liszt receives tonsure from Monsignor Hohenlohe and moves into the latter's apartments in the VAtican.
  • June 21: LIszt plays in the festival hall of the Vatican Library before Pius IX and his court, in honor of the 19th century anniversary of the pontiff's coronation.
  • July 30: He is admitted to the minor orders of the piresthood - Doorkeeper, Lector, Exorcist, and Acolyte. Again it is Gustav Hohenlohe who officiates at the ceremony, this time in his private chapel at Tivoli. Henceforth, Liszt is known by the title of "Abbe."
  • 1886:
  • February 6: Liszt's mother dies in Paris.
  • March 4-May 22: Lliszt visits Paris for a performance of his "Gran" Mass in the church of Saint Eustache
  • June 22: Gustav von Hohenlohe is made a cardinal and quits his apartments in the Vatican. Monsignor de Merode takes over his position as Grand Almoner to Pius IX. LIszt returns for a few months to his old quarters at the Madonna del Rosario. As the years roll by, the friendship between Hohenlohe and Liszt becomes closer. His adversarial role in Liszt's marriage plans to Carolyne seems to be forgotten.
  • November 22: LIszt moves to new apartments in the Santa Francesca Romana, overlooking the Forum.
  • 1867:
  • the compromise between Austria and Hungary is achieved. Liszt composes his "Hungarian Coronation Mass," which is performed on June 8 for the coronation of the emperor Franz Josef as King of Hungary, in the Matthias church, Budapest.
  • August 28: LIszt conducts his oratorio St. Elisabeth in the Wartburg, to celebrate the 800th anniversary of the castle.
  • 1868:
  • June 21: LIszt plays to Pius IX for the 22nd anniversary of the latter's coronation.
  • July-August: Liszt travels to Grottamare with Don Antonio Solfanelli, who gives him serious religious instruction.
  • November: Cosima deserts Hans von Bulow, after years of unhappiness, and elopes to Switzerland with Richard Wagner. Liszt breaks off relations with his daughter and Wagner, his former friend.
  • 1869:
  • Liszt accepts an invitation from the Grand Duke Carl Alexander to return to Weimar for three months of each year in order to conduct advanced masterclasses in piano playing. He lives in the Hoftarnerei.

Liszt in Romeinfo from Franz Liszt Selected Letters ed. Adrian Williams

  • p572, in a letter to Xavier Boisselot in Marseilles. dated January 3, 1862.

"As regards music in Rome, I am wholly entralled by that of the Sistine Chapel, where everything is grand, majestic, permanent, equally sublime in its general effect and in its radiance. Every sunday I listen to that singing in the way that one must say one's breviary.
Despite, or rather because of, theis, I don't in any way share the opinion of those who claim that everything has been said in church music, that its vein is exhausted. On the contrary, I believe it should be excavated still further, and, at the risk of seeming presumptuous, I shall admit that this task tempts me singularly and that I shall endeavour to accomplish it by writing several works in the style and of the order of inspiration of my Gran Mass and of some Psalms which have been performed in Germany … .
… many people fancy, tacitly or openly, that they are entitled to require me to entertain them at any and every turn, opportune or otherwise. At my age and in my frame of mind, that isn't always agreeable, and, besides, I can't see what advantage there can be in making music a too obliging nice girl. Whatever one has from it, tart is an aristocracy whose company one does not frequent comfortably."

  • p573 in a letter to Prince Constantin von Hohenzollern-Hechingen in Lowenberg. January 26, 1862

"The musical diet known to me here is nowhere near as plentiful and substantial as the one I was used to. Thus far I have heard nothing which has given me the desire to listen to it more attentively - with the exception, however, or masses by Palestrina and his school … The overtures to the Gazza ladra and the Barbiere di Siviglia, the cavatinas from Norma and Ernani, that are sometimes heard on occasions when they have at least the merit of surprise, hold no more interest for me than do theatres in which are performed only works that do not gain from being too well known"

Works List:

Psalm 18 (‘Coeli enarrant’) for male chorus and orchestra
Two Episodes from Lenau’s Faust, for orchestra: 1. Der nächtliche Zug 2. Der Tanz in der Dorfschenke
Die drei Zigeuner (Lenau)
Die stille Wasserrose (Geibel)
Wieder möcht’ich dir begegnen (Cornelius)
Jugendglück (Pohl)
The recitation Der traurige Mönch (Lenau)
Arrangements for Piano:
Spinning Chorus from the Der Fliegende Holländer (Wagner)
Danse des Sylphes de La Damnation de Faust (Berlioz)
6 Chants Polonais (Chopin)
Der Tans in der Dorfschenke (known as the First Mephisto Waltz)
The Legend of St Elisabeth (in progress)
Transcriptions for the Piano:
Valse de l’opéra Faust (Gounod)
Löse, Himmel, meine Seele (Lassen)
Pastorale (Reapers’ Chorus) from the Prometheus choruses
The Legend of St Elisabeth
Cantico del sol di San Francisco d’Assisi, for baritone solo, male chorus, orchestra and organ
Two concert studies Walderauschen and Gnomenreigen
Berceuse (2nd Version)
Variations on the bass line from the first movement of Bach’s cantata Weinen, Klagen, Sornen, Zagen
Ave Maria (The Bells of Rome)
Alleluja et Ave Maria
A la Chapelle Sixtine based on Allegri’s Miserere and Mozart’s Ave Verum Corpus
Slavimo slavno slaveni!, for male chorus and organ
Salve Polonia, for orchestra
Legends: 1. St Francois d’Assisi: la predication aux oiseaux 2. St. Francois de Paule marchant sur les flots; Rhapsodie espagnole
Working on Christus
La Notte, second of the Trois Odes Funebres
Ora pro nobis. Litanei
Urbi et orbi, benediction papale
Vexilla Regis prodeunt
Sections of Christus
Missa choralis, mixed chorus and orchestra
Ave Maris Stella, Mixed chorus and orchestra
Les Sabéenes. Berceuse de l’opera La Reine de Saba (Gounod)
Illustrations de l’Africaine (Meyerbeer) 1. Prière des matelots 2. Marche indienne
Fantasie sur l’opéra hongrois Szép Ilonka (Mosonyi)
Ave maris stella, for mixed chorus and organ
Les Morts (Lamennais) and Le Triomphe funébre du Tasse, the first and third of the Trois Odes Funèbres for Orchestra
Piece in A flat
Transcription for piano of Hymne à Sainte Cecile (Gounod)
Hungarian Coronation Mass
Marche Funèbre
Transcription of “Isoldens Liebestod” from Tristan und Isolde
Requiem for male soloists, male chorus, organ, and brass ad lib.
Ave maris stella, for male chorus and organ/harmonium; and a version for voice and piano/harmonium
Mihi autem adhaerere, for male chorus and organ
Technical Exercises begun
La Marquise de Blocqueville, en portait en musique
Ave maris stella, an arrangment
Mass (2nd Version) for male chorus and organ, known as the Szekszàrd Mass
Psalm 116 for male chorus and piano
Inno a Maria Vergine, for mixed chorus, harp and organ/piano duet/harmonium
O salutaris hostia I, for female chorus and organ
Two oratorios planned: The Legend of St Stanislas and St Stephen, King of Hungary