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169:, and looked on it as a sign of the politically unfree conditions existing beyond the Rhine. Yet I was mistaken, after all, and I did not notice it until last week, at the Italian Opera House, where Liszt gave his first concert...This was truly no Germanically sentimental, sentimentalizing Berlinate audience, before which Liszt played, quite alone, or rather, accompanied solely by his genius. And yet, how convulsively his mere appearance affected them! How boisterous was the applause which rang to meet him!...hat acclaim it was! A veritable insanity, one unheard of in the annals of furore!
256:'s optimistic and popular political rhetoric, with its promise of liberal social reforms, predisposed the Berlin public to appreciate Liszt's various gestures in support of charitable, humanitarian causes, as they saw echoes of themselves and their monarch in Liszt's benevolence. But significantly, they found evidence of it not solely in his donations. His personal openness, his behavior towards audiences, and his performing style all became emblems of "charity" as well.
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effect of the repressive and censorious state and that the enthusiasm for Liszt was "compensatory, an illusory substitute for the lack of agency and public participation among
Berliners". The opposing positive view of Lisztomania was that it was a response to Liszt's great benevolence and charity. This view was explained as follows:
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Dana Gooley argues that different people attributed the cause of
Lisztomania in Berlin audiences in a different manner based on their political leanings at the time; furthermore, those who had a progressive view of affairs thought that the outpouring of emotions by Berlin audiences was largely a side
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Liszt once threw away an old cigar stump in the street under the watchful eyes of an infatuated lady-in-waiting, who reverently picked the offensive weed out of the gutter, had it encased in a locket and surrounded with the monogram "F.L." in diamonds, and went about her courtly duties unaware of the
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Lisztomania was characterized by a hysterical reaction to Liszt and his concerts. Liszt's playing was reported to raise the mood of the audience to a level of mystical ecstasy. Admirers of Liszt would swarm over him, fighting over his handkerchiefs and gloves. Fans would wear his portrait on brooches
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What is the reason of this phenomenon? The solution of this question belongs to the domain of pathology rather than that of aesthetics. A physician, whose specialty is female diseases, and whom I asked to explain the magic our Liszt exerted upon the public, smiled in the strangest manner, and at the
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When formerly I heard of the fainting spells which broke out in
Germany and specially in Berlin, when Liszt showed himself there, I shrugged my shoulders pityingly and thought: quiet sabbatarian Germany does not wish to lose the opportunity of getting the little necessary exercise permitted it... In
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Some critics of the day thought that
Lisztomania, or "Liszt fever" as it was sometimes called, was mainly a reflection of the attitudes of Berliners and Northern Germans and that Southern German cities would not have such episodes of Lisztomania because of the difference in constitutions of the
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In 1839, Liszt began an extensive tour of Europe, which he continued for the next eight years. This period is often seen as Liszt's peak as a concert pianist, and he received many honours and adulation during his tours. Scholars have called these years a period of "transcendental execution" for
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he wrote on 25 April 1844, discussing the 1844 Parisian concert season. Lisztomania was characterized by intense levels of hysteria demonstrated by fans, akin to the treatment of some celebrity musicians starting in the second half of the 20th century – but in a time not known for such musical
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Liszt fever, a contagion that breaks out in every city our artist visits, and which neither age nor wisdom can protect, seems to appear here only sporadically, and asphyxiating cases such as appeared so often in northern capitals need not be feared by our residents, with their strong
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in the 20th century. Instead, Lisztomania had much more of a medical emphasis because the term "mania" was a much stronger term in the 1840s, whereas in the 20th century "mania" could refer to something as mild as a new fashion craze. Lisztomania was considered by some a genuine
240:. Perhaps the solution of the question is not buried in such adventurous depths, but floats on a very prosaic surface. It seems to me at times that all this sorcery may be explained by the fact that no one on earth knows so well how to organize his successes, or rather their
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and cameos. Women would try to get locks of his hair, and whenever he broke a piano string, admirers would try to obtain it in order to make a bracelet. Some female admirers would even carry glass phials into which they poured his coffee dregs. According to one report:
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same time said all sorts of things about magnetism, galvanism, electricity, of the contagion of the close hall filled with countless wax lights and several hundred perfumed and perspiring human beings, of historical epilepsy, of the phenomenon of tickling, of musical
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Liszt arrived in Berlin around 25 December 1841, and word of his arrival soon spread. That night, a group of thirty students serenaded him with a performance of his song "Rheinweinlied". He later played his first recital in Berlin on 27 December 1841, at the
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There was no known cause for
Lisztomania, but there were attempts to explain the condition. Heine tried to explain the cause of Lisztomania in the same letter in which he first used the term. In that letter he wrote:
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It is therefore not an uncommon phenomenon to see pianists outgrowing their Liszt enthusiasms and to look back upon their "Lisztomania" as only a phase of development, of which they are not ashamed, but rather
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over several different music seasons discussing the music of the day. His review of the musical season of 1844, written in Paris on 25 April 1844, is the first place where he uses the term
Lisztomania:
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personally. By age eleven, Franz Liszt was already composing music and appearing in concerts. As he grew older, Liszt continued to study and develop his expertise at playing piano.
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to an enthusiastic crowd. This performance would later be marked as the beginning of
Lisztomania, which would sweep generally across all of Europe after 1842.
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Liszt. During this period, the first reports of intense responses from Liszt's fans appeared, which became referred to as
Lisztomania.
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One contributing factor to
Lisztomania is also assumed to have been that Liszt, in his younger years, was known to be a handsome man.
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to describe the outpouring of emotion that accompanied Liszt and his performances. Heine wrote a series of musical
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used the term in a relatively neutral context, to describe pianists' momentary fixation on Liszt's compositions:
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their case, thought I, it is a matter of the spectacle for the spectacle's sake...Thus I explained this
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during his performances. This frenzy first occurred in Berlin in 1841 and the term was later coined by
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Dana Gooley argues that Heine's use of the term "Lisztomania" was not used in the same way that "
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BBC Culture – "Forget The
Beatles – Liszt was music's first 'superstar.'" August 17, 2016.
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Franz Liszt began receiving piano lessons at the age of seven from his father
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This article is about the fan frenzy towards Franz Liszt. For other uses, see
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was the intense fan frenzy directed toward Hungarian composer
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populace. As one report stated in a Munich paper in 1843:
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Fantasy on Themes from Mozart's Figaro and Don Giovanni
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Franz Liszt International Piano Competition (Budapest)
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medical condition and critics recommended measures to
565:"How Franz Liszt Became The World's First Rock Star"
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476:. Cambridge University Press. pp. 201–235.
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1553:Du bist wie eine Blume, WAB 64
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503:. T. Y. Crowell & Company.
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27:Fan frenzy towards Franz Liszt
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143:Creation and use of the term
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500:A Score of Famous Composers
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138:sickly odour it gave forth.
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559:New England Conservatory
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206:In 1891, American poet
114:Sing-Akademie zu Berlin
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615:List of compositions
303:"Lisztomania" (song)
102:Ludwig van Beethoven
1576:Deaf to Our Prayers
1538:Liederkreis, Op. 24
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208:Nathan Haskell Dole
44:In The Concert Hall
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516:Read May 4, 2019.
275:Stendhal syndrome
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978:Deux légendes
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958:Ballade No. 2
956:
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953:Ballade No. 1
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629:Musical works
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242:mise en scene
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128:Liszt in 1843
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1729:Music fandom
1653:Michel Heine
1647:Armand Heine
1610:
1605:
1593:
1574:
1566:
1558:
1543:
1532:Dichterliebe
1504:
1369:
1273:Eduard Reuss
1228:Max Liebling
1116:
1109:
1093:Liebesträume
1091:
1084:
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1063:
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1028:
993:
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964:Consolations
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741:Les préludes
739:
732:
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686:
680:Choral works
668:
661:
645:
534:
531:Walker, Alan
523:
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509:
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446:. Retrieved
434:
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338:. Retrieved
334:the original
327:
317:
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193:the public.
174:Musicologist
172:
166:
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131:
110:
106:
94:Joseph Haydn
87:
74:excitement.
58:
54:
53:
43:
29:
1709:Franz Liszt
1659:Alice Heine
1606:Lisztomania
1517:Adaptations
1498:Other works
1372:(1975 film)
1370:Lisztomania
1308:Karl Tausig
1009:Nuages gris
670:Sardanapalo
646:Lisztomania
606:Franz Liszt
405:Walker 1987
388:Walker 1987
366:Walker 1987
296:Lisztomania
290:Beatlemania
270:Franz Liszt
232:cantherides
182:The Beatles
178:Beatlemania
167:Lisztomania
157:feuilletons
153:Lisztomania
147:The writer
84:Franz Liszt
63:Franz Liszt
59:Liszt fever
55:Lisztomania
1693:Categories
1333:GĂ©za Zichy
1143:(daughter)
1135:Adam Liszt
888:Solo piano
804:Die Ideale
769:Festklänge
755:Prometheus
700:Via crucis
663:Don Sanche
634:Late works
368:, p.
309:References
187:contagious
90:Adam Liszt
78:Background
71:feuilleton
1677:Karl Marx
1637:(brother)
1631:(brother)
878:Totentanz
1744:Hysteria
1655:(cousin)
1649:(cousin)
1555:" (1861)
1534:" (1840)
1527:" (1828)
1490:" (1844)
1483:" (1844)
1476:" (1840)
1469:" (1827)
1400:Category
1137:(father)
832:Symphony
824:Symphony
783:Hungaria
561:, Boston
533:(1987).
423:(1922).
264:See also
237:bona dea
191:immunize
1342:Related
1193:Amy Fay
1058:Csárdás
762:Mazeppa
748:Orpheus
524:Sources
1622:Family
1579:(2006)
1571:(1895)
1563:(1869)
1548:(1851)
1540:(1840)
1509:(1826)
1151:Pupils
1128:Family
943:Sonata
790:Hamlet
655:Operas
480:
448:14 May
340:14 May
298:(film)
220:Causes
215:proud.
100:, and
1587:Other
1459:Poems
1410:Audio
941:Dante
830:Dante
822:Faust
622:Music
69:in a
478:ISBN
450:2010
342:2010
569:NPR
439:doi
370:371
285:Fad
57:or
46:by
1695::
567:,
458:^
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350:^
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441::
435:8
344:.
36:.
20:)
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