Editing Franz Liszt (section)

=== 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}}