Faustsymphonie and Die Hunnenschlacht (all 1857), etc., his cantatas Die Macht der Musik (1850) and An die Künstler (1853), and his piano-concertos (1855-7)—all works cast in large moulds, full of poetic inspiration and tending to break away from traditional conventions of form. To this period also, belong many of his literary writings, such as the essays on Lohengrin, and Tannhäuser (1851), on Chopin (1852), on Field's Nocturnes (1859) and on Hungarian Gipsy-Music (1861).
In 1859 he left Weimar in irritation over the hostility shown to Cornelius' Barbier, and in 1861 his official place was filled by Lassen. He settled now in Rome. His complex nature included a strong vein of religious mysticism, which here became conspicuous. At Weimar he had written several masses, the most celebrated being the Graner Festmesse (1855, for the dedication of the cathedral at Gran), and 3 psalms. His union with the Princess, after long negotiations, was disapproved by the Church and was renounced. He pursued theological studies far enough to receive the title of Abbé from the Pope (1866), and his works now came to include the oratorios St. Elizabeth (1862), Christus (1866) and Stanislaus (unfinished), the Hungarian Coronation Mass (1867) and the Requiem (1868), besides short works for voices, orchestra or piano.
The Weimar court often indicated its good-will, and from 1869 Liszt resumed life there each spring and summer. In 1870 he there conducted the Beethoven Centenary, and in 1884 the Jubilee of the Allgemeiner deutscher Musikverein. From 1873 he was busy over plans for a National Academy of Music at Pesth, of which he became honorary president. Thenceforward he divided each year between Pesth, Weimar and Rome. Pupils continued to flock to him. His influence as a leader did not abate, nor his zeal for Wagner and all fresh enterprises. To his long roll of compositions were added the cantatas Die Glocken (1874), St. Cecilia (1874), Die Kreuzesstationen (1876), the organ-mass (1879), the symphonic poem Von der Wiege bis zum Grabe (1881), the last Hungarian Rhapsodies, many songs and choral pieces, etc. Among his later writings was the essay on Franz (1872). In 1886, full of honors, he died at Bayreuth while attending a Wagner festival.
It would be quite impossible to name or trace all the lines of
personal development that diverged from Weimar during its brilliant
period under Liszt's direction. It became for a time an
artistic centre to which came pupils and aspirants of every
degree. But several composers and writers deserve emphasis
because of their talent and later influence. Of these Raff was
chief, but there were many others.
Joseph Joachim Raff (d. 1882), a Württemberger, born in 1822, after some
training became a school-teacher, but with much private study of music. At
21, securing Mendelssohn's attention, he was enabled to publish a few piano-pieces,
and then devoted himself to composing. At 23 Liszt took him along
on a tour, but from 1846 he settled at Cologne as composer and critic. His
hope to study with Mendelssohn, to get commissions from a Vienna publisher,
