Liszt’s “superhuman” contributions in Weimar consisted of “groundbreaking reforms” both as a conductor and in terms of keyboard pedagogy through his writings and his Beethoven-like legacies. Another important thing regarded as “superhuman” was the musical style Liszt employed in most of his compositions, since Wagner related music and life with the essence of artistic existence. Liszt employed a similar strategy in his works as these had similar endings, and this is what we refer to as “apotheosis.” This chapter points out that there exists an almost apparent linkage between the works and the biography of an artist, that this notion was one of the major discoveries of nineteenth-century criticism, and that this strategy perhaps entailed unrestrained amounts of Romanticism. Also, this chapter discusses “thematic transformation” and how certain techniques for apotheosis are used to accentuate the hero.
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