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Published online by Cambridge University Press: 01 January 2020
The years round about 1860 marked an important change in Liszt's life. His term as court conductor at Weimar, which had begun so successfully and which had seen the production of so many important works on the Weimar stage, as well as the composition of some of Liszt's own greatest works, was drawing to a close in an atmosphere of disillusionment. In 1858 had occurred the demonstration on the occasion of the first performance of Cornelius’ Barber of Bagdad, a demonstration which Liszt took to be directed against himself and which caused him to offer his resignation to the Grand Duke.
1 For Footnotes see p. 80.Google Scholar
1 B.M.Eg.2735, f. 9.—Ed.Google Scholar
2 The autograph of Reminiscences de ‘Boccanegra’ de Verdi is in B.M.Eg.2735, f. 17.—Ed.Google Scholar
3 An autograph full score of “Christus” is to be found in B.M.Add. 34182, f. 1. Also in this MS. (at f. 112) is “Der Schutz-Engel,” (Angelus) from “Années de Pèlerinage, 3me Année.”—Ed.Google Scholar
4 The first public performance in England was given on 4 April 1952, at All Souls Church, Langham Place, London.Google Scholar
5 See The Sunday Times, 8 September 1946.Google Scholar