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Liszt was the only contemporary whose music Richard Wagner gratefully acknowledged as an influence upon his own. His lasting fame was an alchemy of extraordinary digital ability – the greatest in the history of keyboard playing – an unmatched instinct for showmanship, and one of the most progressive musical imaginations of his time. Hailed by some as a visionary, reviled by others as a symbol of empty Romantic excess, Franz Liszt wrote his name across music history in a truly inimitable manner. From his youth, Liszt demonstrated a natural facility at the keyboard that placed him among the top performing prodigies of his day. Though contemporary accounts describe his improvisational skill as dazzling, his talent as a composer emerged only in his adulthood.

Far from the troubled, coarse libertine that has become an archetype of the Romantic composer, Felix Mendelssohn was something of an anomaly among his contemporaries. His own situation – largely one of domestic tranquility and unhindered career fulfillment – stands in stark contrast to the personal Sturm und Drang familiar to his peers. Mendelssohn was the only musical prodigy of the 19th century whose stature could rival that of Mozart. Still, his parents resisted any entrepreneurial impulses and spared young Felix the strange, grueling lifestyle that was the lot of many child prodigies. He and his sister Fanny were given piano lessons, and he also studied violin, and both joined the Berlin Singakademie.