SYNOPSIS

Belgian pianist Marie Pleyel's amazing success as pupil of Liszt at popularising his works in England during the “Hidden Years,” particularly with Les Patineurs, S. 414/2, effectively mobilized a small army of lady pianists to include this work in their concert programs and—to increasing acclaim - in the English provinces. The British capital, however, was for them and almost all of similar pursuit, a hazardous place to play. Despite this fact, the heroic challenge of promoting the music of Liszt in London was eagerly accepted by Walter Bache in 1865. Bache also found willing recruits to the cause at the school for The Higher Development in Pianoforte Playing founded by Oscar Beringer, and by kindred spirits Edward Dannreuther, Fritz Hartivson, and Karl Klindworth. These men battled against intimidating odds to perform Liszt's music in England prior to Bache's capital crusade.

Liszt's cause was greatly helped by his promotional work in London by August Manns, by similar gains on the part of Charles Hallé in Manchester and the work of William Cusins and, during the Edwardian era, by the sterling work of Wilhelm Ganz, Dan Godfrey, George Henschel, Hans Richter, Henry Wood, and others. These last individuals secured a place for Liszt's symphonies and symphonic poems on the programs of orchestral concerts in London and the provinces during the later nineteenth century, while more than occasional performances of Liszt's oratorio, St. Elisabeth were given in England during the Edwardian era.

Performances of Liszt's chamber music were also heard at semi-private concerts held in the exclusive Athenaeum and Crichton Clubs of London during the same period.

SELECTED WORKS OF LISZT's PUBLISHED IN ENGLAND, 1842-1865