Editing Franz Liszt (section)

=== 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}}