In 1822 it goes to Vienna, where it will play in front of Beethoven; but like often in these cases, the Master congratulates the child but anything more. From 1823 to 1835, he lived mainly in Paris where he studied there with Antoine Reicha and imposed itself quickly as pianist.

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Liszt à l'âge où il rencontre Beethoven

        In 1830-1831 it remained in Paris where it became acquainted with Berlioz, Chopin, Victor Hugo and of Lamartine. He is refused with the academy of Paris by Cherubini because he is foreign.

Cherubini

 
        Its relations with Lamartine influenced his career deeply, just like, as from 1831, the Parisian concerts of Paganini. It is indeed to measure itself with him that Liszt wished to confer on the piano a also brilliant technique, as transcendent as that of Paganini to the violin.
In 1833, it meets the countess Marie d' Agoult with which it falls in love. 

        Their relations during the year which will follow conflict, will be made ruptures and of reconciliation successive. The death of Louise, the girl of Marie and the count d' Agoult, will put an end to these tergiversations. 
Liszt of return of the Oak grove comes to comfort Marie, but makes two errors. 

        It makes come its young person protected Hermann Cohen who violates their intimacy, then accepts a concert in Geneva. The Genevese company is rather scandalmonger with regard to Marie as the newspaper testifies some to Valerie Boissier:

“It is at least a 30 year old woman, an insipid blonde!”. 

On December 18, 1835 it is a great joy for the two lovers. Birth of their first daughter, Blandine.

        But Liszt dreams to leave to Paris for in découdre with the new Thalberg rising star. 

        It leaves there for three days, it will return 2 months, on June 6, 1836 later. On its return, the Genevese atmosphere starting to become heavy him and Marie decide to go to join George Sand in Chamonix. The following year, Liszt sets out again in Paris for the final duel with Thalberg while Marie settles in George Sand in Nohant. 

        On December 25, 1837 it is the birth of Cosima, their second daughter.

        Eager to start again their couple, Liszt and Marie make a new escape in love in Italy and at the end of January 1839, and they settle in Rome which will see being born their third child, a boy, this time, Daniel. 
Slowly, the situation is degraded, and Liszt seizes the occasion of the floods of Pesth of 1838 to make a series in concerts in the Austrian empire. 

        Alerted by one of his friends whom the health of Marie degraded, it shortens his stay and returns to Venice. Finally it separates in October 1839. Liszt leaves for Vienna, while Marie gains Paris. Their union is nothing any more but one formal. Marie joined it at the time of her round in London.

        They will spend their holidays three years successive to Nonnenwerth. The publication in 1846 of the Nélida novel of Marie, under the pseudonym of Daniel Stern, draws up a negative assessment of its union with Liszt.

It is the final rupture

  Marie d'Agoult

        From their connection, which was to last until 1844, were born three children, of which Cosima, which will marry the pianist and leader Hans von Bülow then Richard Wagner.

        From 1839 to 1847, Liszt occurred in all Europe, where it acquires a celebrity ever equalized before by an interpreter.

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  Liszt "Le Grand Homme" ( gravure d'Alexander)

        After having left Weimar in 1861, Liszt lived during nearly ten years in Rome, where he studied theology and took into 1865 the minor orders. As from 1871, it shared its time between Rome, Weimar and Budapest, continuing to direct, teach and compose. 

        He died on July 31, 1886 with Bayreuth, with 23:30 following a pneumonia contracted during a festival, three years after Wagner.

        Man of a great generosity, Liszt was one of the most remarkable personalities of his time. Pianist and leader, it composed more than three hundred and fifty works and wrote, entirely or partly, eight volumes of prose, without counting its correspondence.

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Liszt peu avant sa mort

        Its compositions for piano inaugurated technique of a revolutionary and difficult play whose instrument drew a new pallet from textures and sonorities.

Paganini

If one took the practice to compare Liszt and Paganini for their virtuosity, works of the two musicians make me think of a fireworks, or the fabric of Van Gogh  representing “the starlight night” where the flutter of the stars mixes with the gleaming urban lights on the Rhone.

             Among most known three volumes of Years of pilgrimage (1836-1877) appear, the twelve Studies of transcendent execution (1851), the twenty Hungarian Rhapsodies (1846-1885), the six Studies of transcendent execution according to Paganini (1851), the Concerto n° 1 in major E flat (1849, revised in 1853), the Concerto n° 2 in the major one (1848, revised in 1856-1861).

         Certain late pianistic pages as the Trifle without tonality (1884) announce Bartók, Debussy or Schoenberg. Its orchestral works include, in addition to Faust Symphonie (1854-1857) and Dante Symphonie (1855-1856), the symphonic poem “the Preludes” (1854), taking as a starting point a poem of Lamartine.

Romantic in art, as in the life, its technique does of Liszt one of Masters the XIX century old.