When Franz Liszt died, the world lost an innovative composer, mentor, and pianist. Although his influence did not die with him, few of his successors can claim to have walked in his footsteps – to have lived and taught in the same rooms – and to have shared many of his ideals. Ferruccio Busoni did just that when the Grand Duke Carl Alexander invited him to hold piano master classes in Weimar in 1900 and 1901, just as he had invited Liszt to do nearly two decades earlier (1881–1885).This article shows how Liszt's activities in Weimar as Pedagogue and as Kapellmeister (1848–1861) became models for Busoni as he sought to position himself as a prominent ‘musical polymath’ at the turn of the century. Yet Busoni not only emulated Liszt, he also promoted him in an age when the older composer was considered of only tangential importance.By producing authoritative editions of Liszt's music, and perhaps more significantly, by emulating Liszt's activities as a transcriber and composer, Busoni enhanced piano sonority while extending Liszt's ideas about the future of music. In that way, he shared attitudes associated with the Zukunftsmusik movement, and his outlook was rooted in Liszt's compositions, as opposed to Richard Wagner's. At the same time, he helped foster a lineage of young musicians who patterned their careers and music after Liszt.Drawing on surviving memoirs, letters, scores, essays and concert programmes, this article thus explores Liszt's impact on Busoni and his mentees. It reveals a musician not only emulating Liszt, but also expanding upon his ideas and promoting them to others.

中文翻译：

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弗朗茨·李斯特的继承人：费鲁乔·布索尼和魏玛

当弗朗茨·李斯特去世时，世界失去了一位创新的作曲家、导师和钢琴家。尽管他的影响并没有随着他而消失，但他的继任者中很少有人能声称自己曾追随他的脚步——在同一个房间里生活和教学——并分享了他的许多理想。1900 年和 1901 年，当卡尔·亚历山大大公邀请他在魏玛举办钢琴大师班时，费鲁乔·布索尼就是这样做的，就像他在近 20 年前（1881 年至 1885 年）邀请李斯特一样。本文展示了李斯特在魏玛作为教育家和卡佩尔迈斯特（1848-1861）成为布索尼的榜样，因为他试图在世纪之交将自己定位为杰出的“音乐博学家”。然而，布索尼不仅效仿了李斯特，而且还在那个年纪较大的作曲家被认为只是无关紧要的时代提拔了他。通过制作李斯特音乐的权威版本，或许更重要的是，通过模仿李斯特作为抄写员和作曲家的活动，布索尼提高了钢琴的响度，同时扩展了李斯特关于音乐未来的想法。通过这种方式，他分享了与祖昆音乐运动，他的观点植根于李斯特的作品，而不是理查德瓦格纳的作品。同时，他帮助培养了一批年轻的音乐家，他们在李斯特之后塑造了他们的事业和音乐。本文借鉴幸存下来的回忆录、信件、乐谱、散文和音乐会节目，探讨了李斯特对布索尼及其弟子的影响。它揭示了一位音乐家不仅在模仿李斯特，而且还在扩展他的想法并将其推广给他人。