), Moritz Count von Dietrichstein, Heinrich Eduard Josef Baron von Lannoy, Ignaz Franz Baron von Mosel, Carl Czerny, Johann Nepomuk Hummel, Ignaz Moscheles, and the eight-year-old Franz Liszt ( although it seems Liszt was not invited personally, but his teacher Czerny arranged for him to be involved ).

They also underpin the fact that Rossini himself was an outstanding pianist whose playing attracted high praise from people such as Franz Liszt, Sigismond Thalberg, Camille Saint-Saëns and Louis Diémer.

Franz Liszt was seminal in finding uses for the harp in his orchestral music, and Mendelssohn and Schubert used it in theatrical music or oratorios.

In 1880, he went to Budapest to study with Franz Liszt, only to find out that Liszt was in Weimar, Germany.

This facilitated rapid playing of repeated notes, and this musical device was pioneered by Liszt.

Even the music of the Romantic movement, including Liszt, Chopin, Robert Schumann, Felix Mendelssohn and Johannes Brahms, was written for pianos substantially different from modern pianos.

The first production of Lohengrin was in Weimar, Germany on 28 August 1850 at the Staatskapelle Weimar under the direction of Franz Liszt, a close friend and early supporter of Wagner.

Liszt chose the date in honour of Weimar's most famous citizen, Johann Wolfgang von Goethe, who was born on 28 August 1749.

Classical pianist and composer Franz Liszt was quoted as saying " A good Cuban cigar closes the door to the vulgarities of the world ".

In 1861 he had already made the acquaintance of Franz Liszt who, like Bruckner, had a strong, Catholic religious faith and who first and foremost was a harmonic innovator, initiating the new German school together with Wagner.

His symphonies deliberately followed a pattern, each one building on the achievements of its predecessors .... His melodic and harmonic style changed little, and it had as much of Schubert in it as of Wagner .... His technique in the development and transformation of themes, learnt from Beethoven, Liszt and Wagner, was unsurpassed, and he was almost the equal of Brahms in the art of melodic variation.

Weber's shorter piano pieces, such as the Invitation to the Dance, was later orchestrated by Berlioz, while his Polacca Brillante was later set for piano and orchestra by Liszt.

His influence was critical for the further development of Romanticism, especially in composers like Richard Wagner, Nikolai Rimsky-Korsakov, Franz Liszt, Richard Strauss, Gustav Mahler and many others.

Berlioz met Franz Liszt who was also attending the concert.

On Berlioz's return to Paris, a concert including Symphonie fantastique ( which had been extensively revised in Italy ) and Le retour à la vie was performed, with among others in attendance: Victor Hugo, Alexandre Dumas, Heinrich Heine, Niccolò Paganini, Franz Liszt, Frédéric Chopin, George Sand, Alfred de Vigny, Théophile Gautier, Jules Janin and Harriet Smithson.

In 1852, Liszt revived Benvenuto Cellini in what was to become the " Weimar version " of the opera, containing modifications made with the approval of Berlioz.

He was considered extremely progressive for his day, and he, Wagner, and Liszt have been called the " Great Trinity of Progress " of 19th century Romanticism.

Liszt was an enthusiastic performer and supporter, and Wagner himself, after first expressing great reservations about Berlioz, wrote to Liszt saying: " we, Liszt, Berlioz and Wagner, are three equals, but we must take care not to say so to him.

" As Wagner here implies, Berlioz himself was indifferent to the idea of what was called " la musique du passé " ( music of the past ), and clearly influenced both Liszt and Wagner ( and other forward-looking composers ) although he increasingly began to dislike many of their works.

Critics acknowledged Smetana's " delicate, crystalline touch ", closer in style to Chopin than Liszt, but believed that his physical frailty was a serious drawback to his concert-playing ambitions.

Smetana's champions have recognised the major influences on his work as Liszt, Wagner and Berlioz – the " progressives " – while those same advocates have often played down the significance of " traditionalist " composers such as Rossini, Donizetti, Verdi and Meyerbeer.

It was dedicated to former pupils of Smetana's, who had raised funds to cover medical expenses, and is also a tribute to the composer's models of the 1840s — Schumann, Chopin and Liszt.

Smetana's visit to Liszt at Weimar in the summer of 1857, where he heard the latter's Faust Symphony and Die Ideale, caused a material reorientation of Smetana's orchestral music.

He also follows Liszt and Smetana's example of thematic transformation, metamorphosing the king's theme in The Golden Spinning Wheel to represent the wicked stepmother and also the mysterious, kindly old man found in the tale.

Liszt was Smetana's long-time mentor ; he had accepted a dedication of the latter's Opus 1: Six Characteristic Pieces for Piano in 1848, and had encouraged the younger composer's career since then.

His works were labelled old-fashioned by the ' New German School ' whose principal figures included Liszt and Richard Wagner.

As a young composer and pianist he was well regarded in Prague musical circles, and had the approval of Liszt, Proksch and others, but the public's lack of acknowledgement was a principal factor behind his self-imposed exile in Sweden.

She had taken piano lessons with the young Franz Liszt and counterpoint and harmony classes with Anton Reicha, the teacher of Liszt and Hector Berlioz, and friend of Ludwig van Beethoven.

Franz Liszt was not included, but it seems his teacher Czerny arranged for him to also provide a variation, which he composed at the age of 11.

Another Liszt pupil, Eugen d ' Albert, compared Tausig very favorably with their teacher.

This was run by István Thomán, a pupil of Franz Liszt and the teacher of Béla Bartók and Ernő Dohnányi.

A contemporary and lifelong friend of Beethoven, Reicha is now best remembered for his substantial early contribution to the wind quintet literature and his role as a teacher – his pupils included Franz Liszt and Hector Berlioz.

Perhaps surprisingly, his teacher Liszt is not strongly represented among d ' Albert ’ s recordings, though he committed " Au bord d ' une source " from Années de pèlerinage ( 1st year ) to disc in 1916.

Saint-Saëns, Jaëll ’ s composition teacher at the Paris Conservatoire ( who also dedicated his first piano concerto to her ), commented about her interpretation of Liszt ’ s works that " only one person in the world Liszt who can play Liszt — Marie Jaëll.

Jancic ’ s music and teaching have a living pulse directly linked with former pupils of Franz Liszt through his piano teacher Pavica Gvozdić, whose predecessor Svetislav Stančić studied with Liszt ’ s pupils Y. Barth and Conrad Ansorge in Berlin.

His first piano teacher was Carl Reinecke, the director of the Gewandhaus orchestra, while his early compositions were influenced by Reinecke, but also by Robert Schumann, Franz Liszt and Johannes Brahms.

D ' Agoult had three children with Liszt ; however, she and Liszt did not marry, maintaining their independent views and other differences while Liszt was busy composing and touring throughout Europe.

Liszt ’ s sonata begins with a clear statement of several thematic units and each unit is extensively used and developed throughout the piece.

His meteoric career continued with concerts throughout Europe and debuts at the Ravinia Festival ( Grieg and Liszt concertos with Carl Schuricht ) and Carnegie Hall New York with Thomas Schippers.

She has performed throughout the world and recorded a vast repertoire including concertos of Brahms, Grieg, Liszt, Mendelssohn, Schumann, Tchaikovsky, Prokofiev, Rachmaninov, Ravel and Poulenc under the distinguished direction of Kurt Masur, Simon Rattle, Neville Marriner, etc.

One might say that this movement represents the very synthesis of the whole symphony, since many of its themes and motives appear throughout the score in various guises, a process of thematic transformation which Liszt mastered to the highest level during his Weimar years.

He performed many times for the Peabody Mason Concert series in Boston, in 1952, 1968, and 1971 and three concerts of Liszt in 1986 Wild was renowned for his virtuoso recitals and master classes held around the world, from Seoul, Beijing, and Tokyo to Argentina, England and throughout the United States.

Queisser was known throughout Germany and performed at many music festivals where other virtuosi included Franz Liszt, Clara Schumann and Nicolò Paganini.