Liszt and the Music of Images

In the 19th century, musical works spoke not only through sound but also through images. This exhibition, drawn from the richly illustrated scores of the Liszt Ferenc Memorial Museum and Research Centre, offers a glimpse into an era when music and the visual arts went hand in hand—and when even a single printed sheet could be regarded as a work of art. In this virtual exhibition, we present some of the most beautiful examples from this unique collection to show that a musical score is not only a source of sound, but also a work of art in its own right.

892331.jpgLiszt’s Budapest music library is among the museum’s most valuable treasures. In his will, the composer bequeathed the collection to the Academy of Music, where more than 2,500 items are preserved today. These include not only his own compositions but also works by his contemporaries and students—often adorned with richly decorated title pages that reflect the visual world and artistic taste of Liszt’s time.

The illustrated scores of the late 19th century evoke the visual culture of Romanticism. Their ornate, allegorical or symbolic cover designs conveyed not only the mood of the melodies but also the very spirit of the music. In the golden age of salons and concert halls, music was a social event, and the decoration of sheet music mirrored bourgeois taste. The detailed drawings—cherubs, female figures, musical instruments, and national motifs—became visual signs that helped listeners to see the music.

Music in Pictures – The Score as an Artwork

890599.jpgThe spread of lithography revolutionised the publication of music. Printers and graphic artists made title pages visually captivating with new techniques, delicate shading, elaborate ornamentation, and allegorical scenes. Publishers quickly recognised that the eye, too, wished to hear: a beautifully designed cover could bring both fame and profit.

Liszt was particularly sensitive to visual expression. If an illustration failed to capture the spirit of a piece, he would reject it—but when it truly reflected the essence of the work, he welcomed it with joy.

Liszt and the Scores of His Contemporaries

Throughout his life, Liszt was surrounded by composers, students, and admirers. For young musicians, the greatest honour was to send their own works to the Master—hoping in return for a few kind words or a recommendation.

Over time, however, this enthusiasm became overwhelming. In 1882 and again in 1884, Liszt publicly asked that people “please send no more scores.” Despite his plea, he kept every piece—both the brilliant and the less inspired. Thus was born the unparalleled Liszt legacy we know today, a collection that reflects not only his artistic life but also the entire cultural network of his age.

878545.jpgAmong the composers represented are Bedřich Smetana, César Cui, Mihály Mosonyi, Robert Franz, Kornél Ábrányi, and Camille Saint-Saëns. Liszt not only knew their music but personally supported many of them—offering advice, organising performances of their works, and encouraging his students to engage with the music of their contemporaries.

A highlight of these connections is Liszt’s great oratorio La Légende de Sainte Élisabeth, composed between 1862 and 1865. The work recounts the life of Saint Elizabeth of Hungary and stands among the most beautiful illustrated scores of the era: its delicate lithography embodies the reverence and spiritual power of the music.

The Hidden Artists Behind the Covers

867088.jpgIt was rare for an illustration to be created by a celebrated painter—but there were exceptions. One of the finest examples is Jenő Hubay’s 18 Original Hungarian Songs to the Poems of Sándor Petőfi, featuring artwork by Károly Lotz, Mihály Munkácsy, Árpád Feszty, and Mihály Zichy. This series was a true artistic collaboration—uniting Hungary’s greatest painters, graphic artists, and printers in a synthesis of music, poetry, and visual art.

Yet the world of decorative graphics was not reserved for famous names. Hundreds of unknown masters drew, engraved, and lithographed these covers. Though their names are forgotten, their role in the history of music is indispensable. They were the “invisible hands of music,” whose lines, letters, and shades helped sound take form upon the page.

Legacy and Message

892783.jpgEven after more than a century, Liszt’s scores still speak to us. Through the yellowed paper and faded ink, we can still sense the gestures of the composer or the lithographer at work. The drawings and ornaments remain alive—as if Liszt’s spirit and that of his contemporaries spoke through them together.

As guardian of this heritage, the Liszt Ferenc Memorial Museum and Research Centre preserves not only treasures of music history but also a living memory of the dialogue between the arts. When we look upon a sheet music cover, we see not only Liszt’s era but also ourselves—the world in which art could unite sound, colour, and thought into harmony. This is Liszt’s greatest gift: music that teaches us to see.

G. L.

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