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Liszt
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Since the beginning of March 1835, Liszt was staying in Paris again. According to entries in his pocket calendar, he met Marie d'Agoult on March 3, 10, 15, 16, 18, 21 and 22. For the date of March 22 he wrote, "8 ½ Marie rue de Provence", meaning that at half past 8 p.m. he together with Marie d'Agoult had visited his mother's apartment at Rue de Provence 61. After March 22, several blank pages are following. For April 9, there is a note concerning Liszt's concert at the Hôtel de Ville. After further blank pages, for May 28 the entry, "Départ de M[arie]" can be read.
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As a pianist, Liszt was the father of the traveling virtuoso, playing more extensively than any other musician of his time. He revolutionized public performance when he introduced the solo recital in 1839. Everywhere he went there was “Lisztomania.” Liszt was ... the father of modern pianismall pianists ought to bow at the feet of his image at the start of each day. He literally changed the way pianists played their instrument, freeing the arms and playing by weight transfer from the back and shoulders to the fingers. He championed the works of the past and the present alike. Liszt learned to play to the audience as none had done before.
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While Liszt, during his social activities, had emotions of an increasing aversion[103], Marie d'Agoult's situation was in this sense identical. She had in winter 1831-32, together with her husband Charles and their daughters Claire and Louise, travelled to Geneva where a crisis of the married couple occurred. In addition to this, one of Marie d'Agoult's girl cousins had in January 1832 committed suicide.[104] While Marie d'Agoult herself had ideas of suicide and was attended at the sanatorium of one Dr. Coindet in Geneva, her husband together with the daughters returned to Paris. In April 1832, Marie d'Agoult's half-sister Auguste Ehrmann committed suicide.[105] After Marie d'Agoult's own return to Paris, she started in December 1832 taking part in social life again, but found usual habits stupid and annoying. She planned to buy an estate with a Castle at Croissy, a small place near Paris.[106] The contract of sale was concluded on April 18, 1833.[107] Marie d'Agoult had to pay a sum of more than 300,000 Francs. She could afford it since her mother, whose first husband had been the banker Moritz Bethmann in Frankfurt am Main, was very rich.
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Not much later a decision was made about the establishment of the Academy of Music and about renting an institutional building, where Liszt could have a flat. The building was at the one-time Hal ter (Fish-square) Nr. 4. On the site today one can find a memorial plaque at Iranyi u. Nr. 1. on the wall.
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In 1823 Liszt left for Paris. He gave his first concert there the following year. When Luigi Cherubini refused him admission to the conservatory because he was a foreigner, Liszt began to study composition with Ferdinando Paër, the Italian opera composer, and counterpoint with Anton Reicha, the Czech composer. Paris was Liszt's home for 2 decades. Here he participated in the cultural life of the city, becoming friendly with Frédéric Chopin, Felix Mendelssohn, A. M. L. de Lamartine, Victor Hugo, Heinrich Heine, and eventually Richard Wagner. After hearing Niccolò Paganini in 1831, Liszt determined to transfer the violinist's style of virtuosity to the keyboard.
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Liszt [M]oved with his family to Paris in 1823, giving concerts in Germany on the way. He was refused admission to the Paris Conservatoire because he was a foreigner; instead, he studied with Anton Reicha, a theorist who had been a pupil of Joseph Haydn's brother Michael, and Ferdinando Paer, the director of the Théâtre-Italien in Paris and a composer of light operas. Liszt's Paris debut on March 7, 1824, was sensational. Other concerts quickly followed, as well as a visit to London in June. He toured England again the following year, playing for George IV at Windsor Castle and ... visiting Manchester, where his New Grand Overture was performed for the first time. This piece was used as the overture to his one-act opera Don Sanche, which was performed at the Paris Opéra on Oct. 17, 1825.
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