Editing Franz Liszt (section)

=== Compositions ===
[[Romantic music]] generally fell out of favour during the first half of the 20th century, as composers such as [[Igor Stravinsky|Stravinsky]], [[Arnold Schoenberg|Schoenberg]] and [[Béla Bartók|Bartók]] took the art form in new directions. Liszt's music seemed "flamboyant and excessive" in contrast with their leaner styles,{{sfn|Eckhardt|Mueller|Walker|2001|loc=§28}} and his work had neither become part of the established canon nor received credit for being avant-garde.{{sfn|Deaville|2005|p=28}} His piano music received attention from few pianists during this period,{{sfn|Eckhardt|Mueller|Walker|2001|loc=§28}} and only a few select popular pieces such as the ''[[Liebesträume]]'' and ''[[Hungarian Rhapsodies]]'' were published in collections.{{sfn|Deaville|2005|p=28}} Two notable champions were [[Ferruccio Busoni]], who delivered all-Liszt recitals in Berlin in 1904{{ndash}}1905 and 1911, and [[Humphrey Searle]], who organised concerts of Liszt's chamber and orchestral music in the 1930s and 1940s.{{sfn|Loya|2021}} Of his orchestral works, only ''[[Les préludes]]'' and the ''[[Faust Symphony]]'' were performed regularly.{{sfn|Deaville|2005|p=28}}

During the [[Romantic Revival]] of the 1950s Liszt's works and writings received greater attention, and scholars now appreciate the wide range and originality of his compositions.{{sfn|Eckhardt|Mueller|Walker|2001|loc=§28}} In the decades since, recordings of the vast majority of his output have become available, and a complete edition of scores is being published, to modernise the previous such collection published by [[Breitkopf & Härtel]] in 1907{{endash}}1936.{{sfn|Loya|2021}}{{sfn|Walker|2011b|p=32}} Liszt competitions occur across the world, and Liszt societies promote his work.{{sfn|Walker|2011b|p=32}}

{{Quote box|align=right|width=30%|quote=The great artist's true significance was revealed to me at last. I came to recognize that, for the continued development of musical art, his compositions were more important than either Wagner's or Strauss's.
|author=Béla Bartók on Liszt{{sfn|Walker|1970|p=364}}}}
Scholar James Deaville writes that "few composers of the nineteenth century, except possibly Wagner, had the same influence upon succeeding generations as Liszt did. Indeed, one is hard-pressed to think of an innovative composer of the early twentieth century who was not influenced by Liszt's music, especially in its departures from traditional harmonies and novel approaches to form and formal unity".{{sfn|Deaville|2005|p=31}} [[Sergei Prokofiev|Prokofiev]] admired Liszt's concertos, which influenced his own, and [[Igor Stravinsky|Stravinsky]] remarked that he had "admiration for the great Liszt whose immense talent in composition is underrated."{{sfn|Deaville|2005|p=44}} Liszt's piano music had a strong influence on the [[Impressionism in music|Impressionistic]] music of [[Claude Debussy|Debussy]] and [[Maurice Ravel|Ravel]];{{sfn|Deaville|2005|p=43}} one example is Debussy's ''[[L'isle joyeuse]]'', which has clear similarities with ''Les jeux d'eaux à la villa d'Este'', a piece he heard Liszt perform in 1884.{{sfn|Walker|1970|pp=351-352}} Liszt also had a marked influence on early 20th-century Hungarian composers, especially [[Zoltán Kodály|Kodály]] with his ''[[Psalmus Hungaricus (Kodály)|Psalmus Hungaricus]]'', [[Ernst von Dohnányi|Dohnányi]] in his second string quartet, and Bartók, who admired Liszt's works greatly.{{sfn|Deaville|2005|pp=40-41}} Liszt's method of using Hungarian folk music in his compositions was developed further by these composers and their successors, who integrated such themes more subtly and valued the authenticity of the source material to a greater extent.{{sfn|Deaville|2005|pp=40-41}}

It is now held that many of Liszt's late compositions, such as ''[[Nuages gris]]'', ''Les jeux d'eaux à la villa d'Este'' and ''[[Csárdás (Liszt)#Csárdás macabre, S.224 (1881-82)|Czardas macabre]]'', anticipated future developments. Liszt often used symmetrical pitch collections, which equally divide octaves, such as tritones, whole tone and octatonic scales.<ref>{{cite journal |last1=Toth |first1=Peter |title=Symmetrical Pitch Constructions in Liszt's Piano Music |journal=International Journal of Musicology |date=2016 |volume=2 |page=149-164}}</ref> These collections, as well as the use of parallel fifths, unresolved dissonances, and parallel diminished and augmented triads, predate similar compositional techniques used by Ravel and Bartók.{{sfn|Engel|Siegmeister|1973|p=222}} Liszt helped develop chromatic tonality in many ways. He pioneered a tonal language of [[Quartal and quintal harmony|building chords in fourths]], which was a technique later used by Schoenberg.{{sfn|Walker|1970|pp=360-361}} But, tonality was not the only area that he experimented with, as he was also creative with forms. For example, he combined sonata and four-movement symphonic forms in his [[Piano Sonata in B minor (Liszt)|Sonata in B Minor]].<ref>{{cite journal |last1=Toth |first1=Peter |title=Symmetrical Pitch Constructions in Liszt's Piano Music |journal=International Journal of Musicology |date=2016 |volume=2 |page=149-164}}</ref> However, many of Liszt's late works were not available until the publication of [[José Vianna da Motta]]'s final volume of Liszt's solo pieces in 1927, so much of his more radical experimentation cannot have influenced composers before then.{{sfn|Deaville|2005|pp=31,254}}{{sfn|Loya|2021}}

Liszt's invention of the symphonic poem had an impact across Europe from the last years of his life through to the 1920s. His friend [[Camille Saint-Saëns|Saint-Saëns]] wrote ''[[Le Rouet d'Omphale]]'' in 1869 and ''La jeunesse d'Hercule'' in 1877; [[Bedřich Smetana|Smetana]], another friend, wrote ''[[Má vlast]]'' in the 1870s. [[César Franck|Franck]], [[Vincent d'Indy|d'Indy]], [[Antonín Dvořák|Dvořák]] and Debussy all wrote symphonic poems in the 1880s and 1890s.{{sfn|Loya|2021}} [[Jean Sibelius|Sibelius]] was introduced to the music of Liszt through his teacher [[Martin Wegelius]], and the influence of Liszt's symphonic poems is seen in Sibelius' ''[[Kullervo (Sibelius)|Kullervo]]'' and ''[[En saga]]''.{{sfn|Deaville|2005|p=45}} [[Richard Strauss]] also wrote [[Tone poems (Strauss)|his notable collection of tone poems]] around this time, and these are similarly indebted to Liszt.{{sfn|Deaville|2005|pp=38-39}}{{sfn|Gilliam|Youmans|2010}}

Liszt is also credited with several proto-cinematic innovations which anticipate Wagner's more widely-recognised status as the 'father of [[Cinematography|cinema]]', such as audio-visual performance practices and [[cinematic listening]].<ref>Kitchen, Will. (2020) ''Romanticism and Film: Franz Liszt and Audio-Visual Explanation''. London and New York: Bloomsbury Academic, pp. 41-77</ref>