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A painting of the 19th century phenomenon, LISZTOMANIA, an obsession with the Hungarian composer Franz Liszt. (In the Concert Hall, by Theodor Hosemann). Two countesses apparently drew blood fighting over one of Liszt's handkerchiefs.
The Liszt x Chopin mini fanfic is already published and finished 😉
Franz had never had any problems flirting with a beautiful girl without hesitation. But when it came to this guy, he couldn't put two words together and it was all really pathetic.
OTD in Music History: After nearly a decade of constant touring – a unbelievable endeavor that was almost certainly the most extensive and exhaustive artistic journey ever undertaken by any individual in human history up to that point – Franz Liszt (1811 – 1886) gives his final public performance as a paid professional concert pianist in Elisatbetgrad (in what is now Ukraine) in 1847. True to this word, he never again accepts a fee to perform in public.
The period between 1839 - 1847 was by far Liszt's most active period as a pianist. (In later years, he focused much more on composing, conducting, and teaching.) Indeed, in many ways, it was his activity during this period which created the image of him which still persists in the public consciousness to this day.
Honors were showered on the handsome young man across Europe (and parts of Asia), and Liszt was met with adulation wherever he went. Since he often appeared three or four times a week in concert, it can safely be assumed that he performed well over a *thousand* times during this eight-year period… and this in an era when travel was still conducted by stagecoach and it could take hours, if not days, just to bumpily travel from one major city to the next.
After 1842, “Lisztomania" – a term coined by 19th-century German poet Heinrich Heine (1797 - 1856) – began to sweep across Europe. Women fought over Liszt’s silk handkerchiefs and velvet gloves, which they ripped to shreds and stuffed away as souvenirs. Surviving written accounts testify that Liszt's mere physical presence in the room was capable of raising the mood of his (heavily female) audiences to a level of “near-mystical ecstasy”...
PICTURED: A c. 1890s cabinet photo showing a famous profile engraving of Liszt (c. 1840). This particular photo was signed and inscribed on the back by Pauline Apel, who served as Liszt’s housekeeper for thirty years.
When Liszt’s last residence in Weimar (the “Hofgärtnerei”) was turned into a museum shortly after his death, Apel was appointed as the official tourist guide. She served in that role until her own death nearly forty years later. For a fee, she would sign items like this as mementos for visitors.
Os olhos fechados tentando encontrar cores, as mãos são trêmulas tentando encontrar qualquer caminho. Tem ruídos mas são baixos, você consegue escutar?
Quase danço no escuro sem alma sentindo o fluir do pesadelo sem fim, será o ruído querendo enganar?
Mas o amor era dourado como a luz do dia, a escuridão arrebentou o fio dourado que ligava todas as luzes, apagou, tudo tornou-se escuro. Sera a melancolia tatuada na pele?
O ruído? Ainda está aqui, é um som de piano, bem fraco, da para ouvir. Os fantasmas deitaram sob os olhos, mas os ouvidos não morreram.
O ruído calmo, está calmo?
São duas notas leves, parecem aveludadas quase como o fio dourado. Sem respirar o desejo é uma luz acima do medo, as lágrimas estão ricocheteando no chão e ficando perdidas uma das outras. O ruído? Sim, o ruído ainda está passeando nos ouvidos, tem um cheiro indecifrável.
As linhas perdidas ficaram para trás, arrebentadas, e as mãos seguraram algo que da para puxar sem estourar e que trazem um som para perto, cinco notas de piano, acho que é a lisztomania.
Ta na hora de partir, morrer aqui não é uma opção. Me leve de volta?