(Portraits et souvenirs, Société d’edition artistique, 15–34)
Franz Liszt began by incarnating on the piano the panache of Romanticism; then, leaving behind a style belonging to the Middle Ages that could no longer be found in France, despite all the efforts of poets to restore it. Most of the piano pieces he had published seemed unperformable by anyone except him, and were indeed so using the old-fashioned performing techniques that called for immobility, with the elbows tucked into the sides, limiting movement to the fingers and forearms. He had turned his back on his earlier successes and was engaged on works of serious composition, dreaming of a renovation of art. On their own, the memories left by Liszt's time in Paris provided ample material for suggestions of every kind. The truth, when it concerned him, no longer needed the support of likelihood.
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