Saying that Wagner stayed in Paris three or four days after Liszt, mentioning Meyerbeer's new opera, L'etoile du nord, the "Piano-Liszt," which has three keyboards, plus a two-octave pedal keyboard, adding that Berlioz has heard it and is satisfied, saying that it will be in Weimar in a month, reporting that in Paris he and Wagner heard two of Beethoven's last quartets, played by Maurin, Chevillard, et al., mentioning Sax and his large family of instruments, Der fliegende Holländer, [Rossini's] Guillaume Tell, Tannhäuser, Lohengrin (with Tichatschek and Johanna Wagner), the Nibelungen of Dorn, Klindworth, Pohl, Schumann, Bra[h]ms, etc.
"Saying that Wagner stayed in Paris three or four days after Liszt, mentioning Meyerbeer's new opera, L'etoile du nord, the "Piano-Liszt," which has three keyboards, plus a two-octave pedal keyboard, adding that Berlioz has heard it and is satisfied, saying that it will be in Weimar in a month, reporting that in Paris he and Wagner heard two of Beethoven's last quartets, played by Maurin, Chevillard, et al., mentioning Sax and his large family of instruments, Der fliegende Holländer, [Rossini's] Guillaume Tell, Tannhäuser, Lohengrin (with Tichatschek and Johanna Wagner), the Nibelungen of Dorn, Klindworth, Pohl, Schumann, Bra[h]ms, etc."@en
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