In the mid-19th century, the Ottoman Empire was undergoing a period of transformative change known as the Tanzimat, or “Reorganization” era, which introduced sweeping efforts toward modernization and Westernization. Sultan Abdülmecid I, who reigned from 1839 to 1861, was a driving force behind these reforms. Educated in European traditions and fluent in French, Abdülmecid sought to bring the Ottoman Empire in line with European cultural, social, and political standards. His fascination with Western music, literature, and art set the stage for the arrival of Franz Liszt in Istanbul in 1847.
Liszt, a celebrated pianist and composer of the Romantic era, represented the height of European classical music, and his visit underscored Abdülmecid’s vision of Istanbul as a cultural bridge between East and West.
Sultan Abdülmecid’s appreciation for Western classical music was apparent in his court’s atmosphere, which embraced prominent European musicians and fostered intercultural exchanges. He commissioned the Italian musician Giuseppe Donizetti (not to be confused with his 9 years younger brother Gaetano Donizetti, the famous opera composer, see notes 1) as his court music director, charging him with developing military bands, organizing performances, and introducing polyphonic music to Ottoman audiences.
This blend of traditional and Western music created an environment ripe for Liszt’s arrival, where the sultan’s vision of cosmopolitanism in Istanbul could be fully realized. Liszt, one of the greatest musical figures of his time, found an eager audience in Istanbul, as Abdülmecid was keen to expose his court and the city’s elite to European musical innovation.
Through his reforms, Abdülmecid fostered a cultural shift within the empire that went beyond politics and governance. Like his successor, Abdülaziz, who shared a love for literature and music, Abdülmecid viewed the arts as a vital bridge to the West, encouraging mutual understanding and artistic collaboration. His enthusiasm for Western classical music and the intellectual currents of the Enlightenment inspired him to invite artists like Liszt, whose performances introduced Ottoman audiences to new musical horizons.
Liszt’s visit became emblematic of this era, symbolizing a unique moment in Ottoman history when Western and Ottoman cultures intertwined under Abdülmecid’s patronage, illustrating his vision of an empire that thrived through cultural openness and adaptation.
Franz Liszt’s Journey to Istanbul
Franz Liszt’s ambition to visit Istanbul dates back to 1838 when he made plans to perform for Sultan Mahmud II. Although he arranged his travel, acquiring letters of credit and references from Prince Metternich for stops in Izmir, Istanbul, and Athens, unforeseen obstacles forced him to cancel the trip.
In a letter to his friend Victor Schoelcher on October 1, 1838, Liszt expressed his disappointment: “People make programs, but God knows how to conduct business… My strong desire to go to Istanbul is firm, even if plans have changed for reasons beyond my control.”
This early correspondence reveals Liszt’s keen interest in experiencing Istanbul’s vibrant cultural scene, although the exact reasons for his delay remain unclear.
Over the next decade, Liszt’s desire to visit Istanbul persisted, as evidenced by multiple letters he wrote expressing his hope to fulfill this journey. From Prague in April 1846, he mentioned, “I will use this autumn to make my Istanbul and Athens dream come true.”
As late as May 1846, he still expressed uncertainty regarding his schedule, noting from Gratz that, “I will be busy with concerts until the end of June… perhaps in September, I will travel to Istanbul via Transylvania, Yas (Iași in Romania), and Bucharest.”
Each letter reflects the musician’s resolve despite the logistical challenges of managing concert tours across Europe. Further delays kept pushing his trip back, but by February 1847, he wrote optimistically from Odessa, planning to await favorable weather to make his voyage to Istanbul by sea.
Liszt’s much-anticipated journey finally materialized in the summer of 1847. His arrival was heralded by the Ottoman newspaper Takvim-i Vakayi (which can be translated into English as the “Calendar of Events”), which, in January, announced, “The famous piano master who has become renowned across Europe’s major capitals will soon come to Istanbul.”
After performing in Lemberg and Czernovtsy, Liszt embarked from Galati (in present-day Romania) and arrived in Istanbul by ship on June 8, 1847. He would stay in the city for five transformative weeks, immersed in the vibrant cultural landscape of the Ottoman court.
Franz Liszt Concerts, Performances, and Public Appearances in Istanbul
When Franz Liszt arrived in Istanbul, he was warmly received by Sultan Abdülmecid, who invited him to perform at the Çırağan Palace. Liszt’s visit was reported with some humor by the preeminent nineteenth-century British music journal, The Musical World: a Weekly Record of Musical Science, Literature, and Intelligence, (published weekly in London between 1836 and 1931) which wrote, “Liszt was welcomed with enormous honor and compliment. A big celebration was prepared.”
“The Sultan organized an elaborate concert to display his appreciation for music and invited palace musicians and singers to perform symphonies and choral pieces. After this grand performance, Liszt was asked to showcase his piano skills, and he obliged by performing the Andante from Lucia di Lammermoor, an overture from William Tell, and Norma.”
“The Sultan, enjoying himself thoroughly, even ordered a water pipe during the concert, causing an amusing atmosphere as he continued to smoke loudly. Liszt, unaccustomed to the smoke, adjusted his performance, an act that reportedly delighted the Sultan.”
“On his next palace visit, the Sultan presented Liszt with a diamond-studded snuffbox, which was seen as a high compliment.”
The same story appeared, without the humor, in La Revue et Gazette Musicale de Paris on July 11, 1847.
Reflecting on the experience, Liszt wrote from Galati on July 18 that he was touched by the Sultan’s kindness, mentioning the gifts, a payment of a hundred Louis (see notes 2), and the Nişan-ı İftihar (Badge of Honor) with diamonds. He added that he was surprised at how much the Sultan knew about his fame.
Liszt also performed a benefit concert on June 18 at the Franchini Mansion in Büyükdere. Advertised in Turkish newspapers, this matinee concert featured works by Gaetano Donizetti, Bellini, Chopin, and Schubert, showcasing Liszt’s virtuosity and his well-known transcriptions of popular operatic themes. Tickets were sold for 100 kuruş (kuruş: A cent, equivalent to one-hundredth of a Turkish lira, so the tickets were 1 lira) at Hotel de l’Europe and at the concert entrance. According to Gazimihal, these pieces were selected to highlight Liszt’s technical skills. Operas like Lucia di Lammermoor and Norma, which were popular at Istanbul’s Naum Theatre, were included in the program, and his final piece, Hexameron, offered a rhapsodic flair.
Liszt performed at several private and public venues, including Fethi Pasha Mansion and the Russian Embassy in Pera. On June 28, he gave a concert for the Association Commerciale-Artisane de Pierre, which expressed their gratitude in a letter preserved in Weimar archives. During this performance, Liszt gazed out the window at Istanbul’s panorama and became captivated by the idea of simultaneously viewing the East and West. Enthralled, he thought he saw Mount Olympus, today’s Uludağ (English: The Great Mountain) in Bursa, which can indeed be seen from Istanbul on clear days, creating a poetic resonance for the musician amidst the city’s cultural crosscurrents.
Unique Aspects of Liszt’s Visit to Istanbul
The House Where Liszt Stayed in Istanbul
Said Naum-Duhani (1892–1970), a prominent figure in early 20th-century Istanbul, known for his contributions to literature and his deep connection to the city’s cultural heritage, provides details about the house where Franz Liszt stayed during his visit to Istanbul: “The renowned piano maker M. Alexander Kommendinger lived at Number 19 (according to the Hungarian Memories in Turkey website, Number 11) Nuri Ziya street, Beyoğlu, where Franz Liszt stayed as a guest of the Kommendinger family. The great composer had the honor of performing for the Sultan at the palace. On June 18, 1847, he also played at the Franchini Mansion in Büyükdere.”
Dühani adds that the room Liszt occupied (on what was then Polish Street) is now used by B.D. Demarchi, the current owner and a descendant of the Kommendinger family. He laments, “It is a pity that there is no plaque indicating Liszt’s stay in Istanbul. This void should certainly be addressed by friends of art and music.”
The house where Liszt resided does not exist today. However, a commemorative plaque by sculptor Miklós Borsos marks the location, honoring Liszt’s stay.
The Piano Liszt Played in Istanbul
Before Franz Liszt’s arrival in Istanbul, a special Érard piano -one of the finest brands of the time- was ordered for him from Paris. The task of arranging and overseeing the delivery fell to Giuseppe Donizetti. Donizetti managed all official correspondence related to the piano, including a letter from Pierre Érard (1794-1855, the piano and harp maker at the head of the Érard pianos after his uncle Sébastien Érard, the founder of the company) detailing its features, which was published in the Journal de Constantinople.
Donizetti’s journal, titled Giornale e Memorie Diverse di Giuseppe (Journal and Various Memoirs of Giuseppe), now housed in the Topkapi Palace Museum Archives, contains extensive documentation of the piano’s procurement. Four letters, dated November 7, November 18, December 17, 1846, and February 10, 1847, provide intricate details on the piano’s specifications, including its size, string count, and octave range. During a visit to Paris, Donizetti’s son Andrea even went to the Erard factory to inspect the instrument. According to the final letter dated February 10, 1847, the piano was purchased for 4,000 francs.
Initially, the piano was kept at Donizetti’s residence but was later moved to the Çırağan Palace in anticipation of Liszt’s arrival. In a letter to Pierre Erard dated August 5, 1847, Liszt expressed his appreciation: “While waiting in quarantine at Galati, I read about the preparations for me in the Ottoman capital in the Journal de Constantinople. The piano I played was truly powerful and exceptional. Thank you for sending such a high-quality instrument.”
Liszt played this piano at the Çırağan Palace, and shortly before he left Istanbul, the instrument was sold to young Turkish man for 160 lira as a gift for his fiancée. Liszt, reflecting on this unique event, wrote, “C’est un sort tout à fait romantique que celui de cet instrument, et il faut avouer qu’il le mérite bien par ses qualités classiques” (“The piano deserved this romantic destiny”).
Franz Liszt and Giuseppe Donizetti
Giuseppe Donizetti was not only instrumental in organizing Franz Liszt’s visit to Istanbul-handling everything from his invitation to the arrangement of a special Erard piano-but was also a constant companion during Liszt’s stay. Donizetti personally welcomed him upon his arrival and escorted him to the Çırağan Palace to meet Sultan Abdülmecid.
During his time in Istanbul, Liszt was hosted by Donizetti and, upon request, received copies of two marches Donizetti had composed for the Sultan. In a letter to his son Andrea dated June 9, 1847, Donizetti wrote, “Liszt was in my house. He has just left. He wanted the sheet music for the two marches I composed for the Sultan, saying he intended to play them in a variation.”
Liszt later transformed Donizetti’s Mecidiye March into a concert piece titled Grande Paraphrase de la Marche de Giuseppe Donizetti, Op. 87, which he performed for Sultan Abdülmecid. The date of composition is 14th-15th June 1847 at Buyukdere during his concerts in Istanbul. This work was subsequently published by Schlesinger Publishing House, capturing a piece of his remarkable Istanbul experience in music.
Notes
1. Giuseppe Donizetti (Donizetti Pasha)
Giuseppe Donizetti, known as Donizetti Pasha, was an influential Italian musician and conductor born on November 6, 1788, in Bergamo, Italy, and died on February 12, 1856, in Istanbul. Donizetti was instrumental in introducing Western music to the Ottoman Empire in the 19th century, and he significantly contributed to the development of the empire’s first Western-style military band, known as the Mûsikâ-i Hümâyûn, now the Presidential Symphony Orchestra. Over his 28 years of service to the Ottoman State, he held the rank of “Pasha,” a title awarded to him in recognition of his contributions.
Appointed by Sultan Mahmud II in 1828, Donizetti arrived in Istanbul to lead the newly established military band as part of Mahmud’s reforms, which aimed to modernize the Ottoman military and cultural practices in line with European standards. Under Mahmud’s orders, Donizetti created a sophisticated military band using Western musical instruments he brought from Italy, quickly organizing a performance for the sultan within his first month in Istanbul.
He also composed official marches for the Ottoman rulers, including the “Mahmudiye March” for Mahmud II and the “Mecidiye March” for Mahmud’s successor, Sultan Abdülmecid, which were used as the official anthems of the Ottoman Empire. These compositions symbolized the increasing integration of Western musical forms within Ottoman state culture.
Donizetti’s influence went beyond military bands; he adapted several pieces from Turkish music to Western classical standards, adding polyphonic elements and composing works that included traditional Turkish motifs. He also taught music to members of the Ottoman court, including Sultan Abdülmecid, and mentored Turkish musicians who later contributed to the country’s musical evolution.
His efforts were recognized with honors such as the Ottoman “Order of Honor” from Mahmud II, the “Order of the Medjidie” from Abdülmecid, and France’s prestigious “Légion d’honneur.” Donizetti supported annual Italian opera performances in Pera (now Beyoğlu) and hosted leading European musicians, including Franz Liszt, who composed a tribute march for Sultan Abdülmecid after his visit to Istanbul. Donizetti’s impact on Ottoman music was significant, leaving a legacy of cultural exchange and modernization that shaped the empire’s music scene well into the 19th century.
2. Louis
The Louis d’or, or “Louis,” was a French gold coin that circulated widely in France before the Revolution and continued in other forms until the 19th century. While its official production ended with the French Revolution, the coin remained a recognized and valued currency, especially among European elites and for international transactions. By the time of Liszt’s visit in 1847, Ottoman society had close ties with European powers, and European currencies, particularly gold coins like the Louis, were sometimes used for payments to international guests or dignitaries.
Sultan Abdülmecid, aware of European customs and eager to align with them, likely used the Louis d’or as a way to honor Liszt in a manner that reflected both the musician’s European background and the sultan’s own international outlook. The Ottoman court was increasingly adopting European styles in art, culture, and currency for such ceremonial payments, and the Louis, being both prestigious and internationally recognizable, symbolized the importance of Liszt’s visit to Istanbul.
Sources
- Franz Liszt on Wikipedia
- Abdülmecid I on Wikipedia
- Study: Franz Liszt in Ottoman Empire. Şirin Akbulut Demirci. International Journal of Social Sciences and Humanity Studies, Vol 3, No 2, 2011 ISSN: 1309-8063.
- “The Memorial Plate of Franz Liszt: Beyoğlu, Nur-i Ziya Street, No:11” on the Hungarian Memories in Turkey website
