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Franz Liszt and the Seven Rays

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Franz Liszt and the Seven Rays Spring 2014 Franz Liszt and the Seven Rays Celeste Jamerson Franz Liszt, Portrait by Ary Scheffer1 Abstract the soul, personality, mind, emotions and phys- ical body. Although a detailed analysis of he purpose of this article is to study the Liszt’s astrological chart is beyond the scope T influence of the seven rays in the life of of the present article, some consideration also the great Romantic composer Franz Liszt. The will be given to the rays as they influence Liszt first part of this article will give a short synop- through planets and points in his chart. Specu- sis of Liszt’s life and work and the important lation will also be given as to a possible past- role he played in the history of classical mu- life ray influence. sic.2 A brief explanation of the seven rays will _____________________________________ follow. Each ray then will be described in terms of its influence on the life and work of About the Author Liszt. Liszt’s life, his music, his relationships, Celeste Jamerson is a soprano and teacher of sing- and his prose writings will be examined for ing in the New York metropolitan area. She has a signs of the influence of the rays. An effort BM in voice performance from Oberlin Conserva- will be made to determine which rays condi- tory, a BA in German Studies from Oberlin Col- tion Liszt on various levels. These are the same lege, an MM in voice performance (with distinc- levels which were used by the Tibetan Master tion) from Indiana University, and a DMA in voice performance from the University of North Carolina Djwhal Khul, hereafter referred to simply as at Greensboro. She has studied with the Morya “The Tibetan,” in performing ray analyses for Federation Esoteric Schools of Meditation. a select group of disciples and include those of Copyright © The Esoteric Quarterly 15 The Esoteric Quarterly Introduction role in the development of music become pos- sible. Alan Walker did a great deal to raise the ranz Liszt was a pivotal figure in the histo- level of Liszt scholarship with his recent, F ry of western music. He made important three-volume biography of the composer.3 The contributions to the areas of performing and appearance of Walker’s biography, as well as composing which helped change the course of the occasion of the two hundredth anniversary music history and which continue to have an of Liszt’s birth in 2011, encouraged further impact up to the pre- musicological re- sent day. Liszt had We must . consider the fact search, which has enormous influence, that the energy of the rays shed additional light not only as a pianist streams through the planets and on Liszt’s life and on and composer, but his activities as per- also as a teacher and signs in an individual’s astrolog- former, composer, conductor. The in- ical chart. In addition, esoteric conductor, and teach- novative nature of er. Liszt’s musical con- psychologists often speak of sec- Very little seems to tributions notwith- ondary ray influences, or sub- have been written on standing, he saw rays, which also can condition Liszt from the angle himself as continuing of esotericism, espe- the legacy of the an individual on a particular cially when one com- great composers of level. It also may happen that a pares him with many the past, such as ray exerts an influence on one’s of the other great Bach, Mozart, and composers. An exam- Beethoven. In addi- present existence as a legacy, ination of Cyril tion, Liszt was quick carried over from a previous life Scott’s Music and Its to recognize the tal- in which its influence was Secret Influence ents of other great throughout the Ages, composers of the strongly felt. Therefore, it may for example, failed to day, such as Chopin, be said that all seven of the rays turn up any references Berlioz and Wagner, to Liszt, although this and he tirelessly and can manifest in the life of an in- book contains percep- selflessly promoted dividual on various levels and to tive observations their music. Liszt various degrees. about many other was an inspiring composers, including teacher, who generously shared his time and Liszt’s great contemporary, Richard Wagner.4 his expertise with young pianists, composers The astrologer and composer Dane Rudhyar, and conductors. These students of Liszt went however, has made some observations on on to teach future generations, and their influ- Liszt’s astrological chart and on the esoteric ence on the field of music is still felt to the significance of his music.5 Michael Robbins present day. also has published a short article on Liszt’s As a pianist, Liszt was a charismatic perform- astrological chart, with some brief comments er, who could mesmerize an audience with his on the Fourth and the Sixth Rays as they af- playing. An aura of mystique surrounded him, fected Liszt.6 The present article on Liszt and and many false rumors were circulated about the seven rays is an attempt to shed further his life. Only recently has a more balanced light on the life and work of this great compos- assessment and a fuller appreciation of Liszt’s er from an esoteric standpoint. 16 Copyright © The Esoteric Quarterly, 2014. Spring 2014 Liszt’s Birth Chart7 Liszt’s Life and Work home one day. That same evening, Franz hummed back one of the themes of the concer- iszt was born on October 22, 1811 in the to to his astonished parents. Adam began to L village of Doborján, Hungary, near the give piano lessons to Franz. When people Austrian border.8 Liszt’s gestation and birth asked the young boy what he would like to be coincided with the period of maximum bright- when he grew up, he would point to Beetho- ness of the Great Comet of 1811. This spec- ven’s portrait on the wall and say, “ein sol- tacular comet was said to presage great events, cher!” (“I want to be like him!”) Adam, who and the gypsies encamped near Doborján said had studied to be a priest as a young man, of- that a great man would be born that year.9 ten took Franz to visit the Franciscans. These Liszt’s father, Adam, was a talented amateur visits made a deep impression on Franz, who musician who served as a bookkeeper on the would later express the desire to become a estate of Prince Nicholas Esterhazy II (1765– priest himself. 1833). Nicholas II was the grandson of Prince In 1822, Liszt’s parents brought him to Vien- Nicholas Joseph (1714–1790), who had been na, where he studied piano with Carl Czerny the patron of the great composer Joseph and composition with Antonio Salieri. While Haydn. Franz’s health was delicate as a child, in Vienna, Liszt played the piano for Beetho- and he frequently suffered from fever. In fact, ven, who predicted a great future for the boy.10 just before his third birthday, he became so ill After only fourteen months in Vienna, Liszt’s and unresponsive that his parents thought that father took him to Paris, where he studied mu- he was dead, but the boy rallied. sic theory with Antonin Reicha and composi- In his sixth year, Franz listened with great in- tion with Ferdinando Paer. Like the young terest as his father played a piano concerto at Mozart, Liszt also gave concerts as a child Copyright © The Esoteric Quarterly 17 The Esoteric Quarterly prodigy, touring in the company of his father. with whom he formed intimate relationships. On August 28, 1827, however, Adam Liszt Then, in 1833, Liszt met the Countess Marie died tragically after having contracted typhoid d’Agoult, and the two were immediately drawn fever on their travels. to one another. The Countess, who was un- happily married at the time, became pregnant After his father’s death, Liszt’s mother joined with Liszt’s child, and the couple eloped to him in Paris. Liszt devoted himself to teaching Switzerland. During the early years of their piano lessons all day, well into the evening relationship in the 1830s, Liszt and Marie trav- hours. He would often come home late and fall eled throughout Switzerland and Italy. In all, asleep on the stairs in the hallway so as not to the couple had three children together, whom disturb his mother. Liszt left off composing they left with caretakers while Liszt and Marie and practicing. It was at this time that Liszt continued their travels. On these travels, Liszt took up the habits of smoking cigars and of composed many outstanding piano pieces drinking rather large amounts of alcohol in the which drew their inspiration from art and na- belief that this would help him to cope with his ture, and which appeared in the collection An- demanding schedule. He retained these habits nées de pèlerinage (“Years of Pilgrimage”), up until the end of his life. Books 1 and 2.14 He also wrote essays on mu- Around this same time, Liszt fell in love with sic which were published in musical journals one of his aristocratic piano students, Caroline of the day. In these essays, Liszt proposed re- de Saint-Cricq. The two young people wished forms in the fields of music education, music to become engaged, but her father forbade it. publishing and church music, as well as in the Liszt writes that “in order to heal from such an treatment of composers and performing artists. intensive wound, I had to fill my heart entirely In 1838, Marie moved back to France, entrust- with the mystical Feeling of love and reli- ing her two daughters by Liszt to the care of gion.”11 Liszt wanted to join the priesthood, Liszt’s mother.
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