LYCOS RETRIEVER 
Liszt: Raiding
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After Liszt's last return from Geneva, he had a time of struggle, of anguish, and of solitary torments. In order to forcefully destroy Adèle's love, he had affairs with other women, such as his student Hortense and one Madame Goussard. His mother, who found him behaving foolishly and wanted to soothe his excited nerves, suggested a marriage with Euphémie Didier. In August or in the beginning of September 1831 they became engaged, but six weeks later, in October, the engagement was cancelled from Liszt's side. Due to the breach of promise there were strong complaints, even threatening, from Euphémie's family.[91] In March 1832, Liszt met Charlotte again and started together with her a new love affair.[92] But he had to vow solemn oaths, never to return to Geneva.[93]
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In 1861 Liszt went to Rome to make arrangements for his wedding to the princess, but when she was unsuccessful in obtaining a divorce through the Vatican, they separated. In 1863 Liszt, who had often shown an interest in becoming a member of the Church, joined the Oratory of the Madonna del Rosario. Many of his sacred works, such as the Legend of St. Elizabeth and Christus, derive from this decade.
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Very soon, Liszt was to be heard in private circles. His public debut in Vienna was on December 1, 1822, at a concert at the "Landständischer Saal". Liszt played Hummel's concerto in A-Minor as well as an improvisation on an air from Rossini's opera "Zelmira" and the "Andante" ("Allegretto") of Beethoven's 7th Symphony. On April 13, 1823, he gave a famous concert at the "Kleiner Redoutensaal". For this time, he played Hummel's concerto in B-Minor, brilliant variations by Moscheles and an own improvisation. According to the legend, he impressed Beethoven, although deaf, to such an extent that he congratulated Liszt on the stage, kissing him on the forehead and giving him enthusiastic praise. However, the unparalleled event left no traces in contemporary reviews of the concert.[22] According to Schilling's account, authorized by Liszt, during the concert the boy had had the impression, Beethoven was looking from a distance at him, but without saying a single word or even kissing him.[23] But Beethoven's conversation books show, that Beethoven did not attend the concert.
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An exhibition of Liszt-related memorabilia will be shown at the Georgia Museum of Art throughout the Festival. An introduction to the exhibition will be presented by University of Georgia Political Science Professor and Grammy Award winner John Maltese.
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A failure to understand the ethnic aspect of nationality in Hungary could be excused in someone who, like Liszt, was educated in the West. It is far less excusable for the leaders of Hungarian nationalism in the nineteenth century, specifically those of the Kossuth-Petőfi stripe, to disregard, in their relentless campaign of Magyarization, the aspirations of the non-Magyar nationalities in Hungary. While most of the European Revolutions of 1848 failed, the failure of the Hungarian one was due in no small measure to the fact that the Croats, Romanians, Serbs and Slovaks of Hungary took the Austrian side. And while there were Hungarian leaders, such as Ferenc Deák and Count István Széchenyi, who were far more understanding of the problem of nationalities, theirs was not the path that was taken.
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Brahms and others couched their objections in terms of Liszt's reliance on literary themes, his public revelations of a "music of the future" that would blend language, dance and music. Liszt basically was the inventor of the symphonic poem, where the music emulates a particular poem or literary passage, a genre that includes the famous "Les Preludes" (based on a poem by Alphonse de Lamartine). According to the post-Brahms camp, music should be nude. Dressing it up in stories only hides its real beauty.
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