Editing Franz Liszt (section)

==Relationships with other composers==
=== Hector Berlioz ===
[[File:Joseph Kriehuber, Ein Matinée bei Liszt, 1846.jpg|thumb|right|Berlioz (standing, left) listening to Liszt play the piano (1846)]]
[[Hector Berlioz|Berlioz]] and Liszt first met on 4 December 1830, the day before the premiere of Berlioz's ''[[Symphonie fantastique]]''.{{sfn|Watson|2000|p=27}} The two quickly became very close friends, exchanging intimate letters on their respective love lives, which also reveal that Liszt was aware of Berlioz's fixation on suicide.{{sfn|Bloom|1998|p=64}}{{sfn|Bloom|2013|pp=76,79}} Liszt acted as a witness at Berlioz's wedding to [[Harriet Smithson]] in 1833, despite cautioning Berlioz against it, and they worked together at several concerts over the following three years, and again in 1841 and 1844.{{sfn|Bloom|2013|p=81}}{{sfn|Watson|2000|p=30}} In Weimar, the two composers revised ''[[Benvenuto Cellini (opera)|Benvenuto Cellini]]'', and Liszt organised a "Berlioz Week." It included ''[[Roméo et Juliette (Berlioz)|Roméo et Juliette]]'' and part of ''[[La damnation de Faust]]'', which was later dedicated to Liszt. In return, Liszt dedicated his ''[[Faust Symphony]]'' to Berlioz).{{sfn|Macdonald|2005|loc=§5}}

The orchestration of Berlioz had an influence on Liszt, especially with regards to his symphonic poems. Berlioz saw orchestration as part of the compositional process, rather than a final task to undertake after the music had already been written.{{sfn|Macdonald|2005|loc=§17}} Berlioz joined Liszt and Wagner as a figurehead of the [[New German School]], but an unwilling one, as he was unconvinced by Wagner's ideas about the "[[Music of the Future|music of the future]]".{{sfn|Watson|2000|pp=95-96}}

=== Frédéric Chopin ===
[[Frédéric Chopin|Chopin]] and Liszt first met in the early 1830s, both moving in the same circles of artists residing in Paris.{{sfn|Walker|1973|p=36}} Liszt attended Chopin's first Paris performance at the [[Salle Pleyel]] on 26 February 1832, which he admired greatly, and by mid-1833 the two had become close friends. They performed together a number of times, often for charity, and since Chopin only performed in public about 12 times, these events comprise a large proportion of his total appearances.{{sfn|Hall-Swadley|Liszt|2011|pp=31-32}}

Their relationship cooled in the early 1840s, and several reasons have been suggested for this, including that [[Marie d'Agoult]] was infatuated with Chopin, or Liszt with [[Aurore Dupin]], also known by her pen name [[George Sand]], or that Liszt used Chopin's home for a rendezvous with [[Marie Pleyel]], the wife of Chopin's friend [[Camille Pleyel|Camille]]. The two musicians had very different personalities, with Liszt being extroverted and outgoing while Chopin was more introverted and reflective, so it is possible that the two never had an extremely close friendship to begin with, and the fact that they did not live physically close together would have been another barrier. On the topic, Liszt commented to Chopin's biographer [[Frederick Niecks]] that Marie d'Agoult and Aurore Dupin had frequently disagreed, and the musicians had felt obliged to side with their respective partners.{{sfn|Hall-Swadley|Liszt|2011|pp=30-33}} [[Alex Szilasi]] suggests that Chopin took offence at an equivocal 1841 review by Liszt, and was perhaps jealous of Liszt's popularity, while Liszt in turn may have been jealous of Chopin's reputation as a serious composer.{{sfn|Szilasi|2011}}

Very shortly after Chopin's death in 1849, Liszt had a monument erected in his memory and began to write a biography.{{sfn|Szilasi|2011}} Chopin's relatives and friends found the timing of this insensitive, and many declined to help with Liszt's enquiries.{{sfn|Hall-Swadley|Liszt|2011|pp=17-18}}

Scholars disagree on the extent to which Chopin and Liszt influenced each others' compositions. [[Charles Rosen]] identifies similarities between Chopin's [[Étude Op. 10, No. 9 (Chopin)|Étude Op. 10, No. 9]] and the early version of Liszt's [[Transcendental Étude No. 10 (Liszt)|Transcendental Étude No. 10]], but [[Alan Walker (musicologist)|Alan Walker]] argues that no such connection exists. Stylistic similarities between other studies, Chopin's ''[[Nocturnes (Chopin)|Nocturnes]]'' and Liszt's ''[[Consolations (Liszt)|Consolations]]'', and even an influence on the ornamentation and fingering of Liszt's works, have been proposed.{{sfn|Hall-Swadley|Liszt|2011|pp=33-34}}

=== Robert and Clara Schumann ===
In 1837 Liszt wrote a positive review of [[Robert Schumann]]'s ''Impromptus'' and piano sonatas [[Piano Sonata No. 1 (Schumann)|no. 1]] and [[Piano Sonata No. 3 (Schumann)|no. 3]]. The two began to correspond, and the following year he met Schumann's fiancée [[Clara Schumann|Clara Wieck]], to whom he dedicated the early version of ''[[Grandes études de Paganini]]''. Schumann in turn dedicated ''[[Fantasie in C (Schumann)|Fantasie in C]]'' to Liszt. The two met for the first time in [[Dresden]] in 1840.{{sfn|Hall-Swadley|Liszt|2012|p=25}}

Schumann resigned as editor of the music journal ''[[Neue Zeitschrift für Musik]]'' in 1844, ten years after founding it.{{sfn|Hall-Swadley|Liszt|2012|p=25}} The journal was taken over the following year by [[Franz Brendel]], who used it to publicise and support Liszt's New German School, to Schumann's chagrin.{{sfn|Walker|1973|p=66}} In 1848 Liszt attended a performance of the [[Piano Trio No. 1 (Schumann)|Piano Trio No. 1]] being held in his honour in the Schumanns' home. Liszt arrived two hours late with Wagner (who had not been invited), derided the piece, and spoke ill of the recently deceased [[Felix Mendelssohn|Mendelssohn]]. This upset the Schumanns, and Robert physically assaulted Liszt.{{sfn|Hall-Swadley|Liszt|2012|pp=26,27}}

The relationship between Liszt and the couple remained frosty. Liszt dedicated his [[Piano Sonata in B minor (Liszt)|1854 piano sonata]] to Robert, who had by that point been committed to a mental institution in [[Endenich]]. Clara asked for Liszt's help that year in finding a performance venue in order to earn an income. Liszt arranged an all-Schumann concert with Clara as the star performer and published an extremely positive review, but Clara did not express any gratitude. In a posthumous edition of Robert's works, Clara changed the dedication of the ''Fantasie'' from Liszt to herself. After Liszt's death, she wrote in her diary "He was an eminent keyboard virtuoso but a dangerous example for the young.{{nbsp}}... As a composer he was terrible."{{sfn|Hall-Swadley|Liszt|2012|pp=26-27,29}}

=== Richard Wagner ===
[[Richard Wagner|Wagner]] first met Liszt in Paris in 1841,{{sfn|Trippett|2021}}{{sfn|Grey|2008|p=xxi}} while living in poverty after fleeing [[Riga]] to escape creditors.{{sfn|Negus|Hamilton|2021}}{{sfn|Grey|2008|p=xx}} Liszt was at this point a famous pianist, whereas Wagner was unknown; unlike Wagner, Liszt did not remember the meeting. In 1844 Liszt attended a performance of Wagner's first major success, the opera ''[[Rienzi]]'', in Dresden.{{sfn|Negus|Hamilton|2021}}{{sfn|Trippett|2021}} The two met in Berlin at the instigation of [[Wilhelmine Schröder-Devrient]], and Wagner later sent Liszt the scores of ''Rienzi'' and ''[[Tannhäuser (opera)|Tannhäuser]]'' in an attempt to elicit approval.{{sfn|Trippett|2021}} Liszt settled in Weimar in 1848, and the two grew close, Wagner still being located in Dresden.{{sfn|Negus|Hamilton|2021}} Wagner wrote to Liszt a number of times soliciting financial help.{{sfn|Trippett|2021}}

In 1849 Liszt sheltered Wagner after the latter's involvement in the failed [[May Uprising in Dresden]].{{sfn|Grey|2008|p=47}} Liszt arranged a false passport and lent Wagner money to allow him to escape Germany for Switzerland, and for the next ten years continued to send money and visit, as well as petition officials for a pardon which eventually came in 1860.{{sfn|Eckhardt|Mueller|Walker|2001|loc=§12}}

To publicise Wagner's music, Liszt staged ''Tannhäuser'' in 1849, for the first time outside Dresden, and published two transcriptions from it, writing to Wagner "Once and for all, number me in future among your most zealous and devoted admirers; near or far, count on me and make use of me."{{sfn|Trippett|2021}} In 1850 he arranged the premiere of ''[[Lohengrin (opera)|Lohengrin]]'', which Wagner dedicated to Liszt, and he also mounted performances of ''[[Der fliegende Holländer]]''.{{sfn|Eckhardt|Mueller|Walker|2001|loc=§12}} Liszt had intended to dedicate the 1857 ''[[Dante Symphony]]'' to Wagner, but upon being told this Wagner replied that, while a fine piece, he would prefer to receive money. Liszt was offended by this comment, and did not publish the dedication.{{sfn|Negus|Hamilton|2021}}

[[File:Die Gartenlaube (1894) b 521.jpg|thumb|right|Cosima and Richard Wagner at their home [[Wahnfried]], with Liszt and [[Hans von Wolzogen]] (1880)]]
By 1864 Wagner had begun an affair with Liszt's daughter [[Cosima Wagner|Cosima]], who was married to Liszt's erstwhile pupil [[Hans von Bülow]].{{sfn|Millington|Deathridge|Dahlhaus|Bailey|2009|loc=§6}} Liszt disapproved of the relationship and broke off contact with the couple for a number of years, only learning of their 1870 marriage from the newspapers.{{sfn|Eckhardt|Mueller|Walker|2001|loc=§20}}{{sfn|Watson|2000|p=146}} Nevertheless the relationship recovered: Liszt contributed financially to the building of the [[Bayreuth Festspielhaus]] in 1871, and he began to correspond with Wagner and Cosima again, frequently visiting their home [[Wahnfried]].{{sfn|Watson|2000|p=146}}{{sfn|Walker|1973|p=93}} Liszt died in 1886 while at the latest incarnation of the [[Bayreuth Festival]], dedicated to Wagner's work, Wagner having died three years previously.{{sfn|Schmalhausen|2002|p=2}}{{sfn|Millington|Deathridge|Dahlhaus|Bailey|2009|loc=§8}}

Similarities have been suggested between Wagner's ''[[Faust Overture]]'' and Liszt's ''Faust Symphony'', but Liszt claimed that the likenesses of the themes were coincidental.{{sfn|Negus|Hamilton|2021}} Scholars also note a similarity between the opening of Liszt's song "Lorelei" and the famous "[[Tristan chord]]" from the opening of Wagner's later opera ''[[Tristan und Isolde]]'', although there is no consensus on whether Wagner was influenced by the song.{{sfn|Negus|Hamilton|2021}} There are similarities in their musical languages, however, and Wagner once even commented to Cosima that he was looking at ''[[The Bells of the Strasbourg Cathedral]]'' to ensure he had not overtly plagiarised the work, the opening theme of ''[[Parsifal (opera)|Parsifal]]'' being very similar to that cantata.{{sfn|Negus|Hamilton|2021}} Both composers were also prominent members of the New German School.{{sfn|Eckhardt|Mueller|Walker|2001|loc=§12}}