Wahnfriedstrasse 9
Tel. (0921) 516 64 88
Open: Sep-
Jun: 10am- 12pm, 2- 5pm daily
Jul- Aug: 10am- 5pm daily
The Franz Liszt Museum (Franz-Liszt-Museum) in Bayreuth is a
dedicated institution honoring the life, work, and legacy of the
renowned Hungarian composer, pianist, and conductor Franz Liszt
(1811–1886). As the only museum in Bayreuth focused solely on
Liszt, it provides an intimate exploration of his personal and
professional journey, with a particular emphasis on his
connections to the city, including his final days and death
there. Housed in the historic building where Liszt passed away,
the museum draws from a core collection acquired in 1988,
offering visitors a blend of artifacts, documents, and
multimedia elements. It attracts music enthusiasts, historians,
and tourists interested in Bayreuth's rich cultural heritage,
especially its ties to Richard Wagner, Liszt's son-in-law. The
museum is small but densely packed, making it ideal for a
concise yet insightful visit, typically lasting about an hour.
With an overall visitor rating of 4.2 out of 5 on platforms like
Tripadvisor, it's praised for its enlightening content and low
cost, though some note language barriers in exhibits.
The Franz Liszt Museum (Franz-Liszt-Museum) in Bayreuth, Germany, is
a specialized music-history museum dedicated to the life, work, and
final days of the Hungarian composer, pianist, conductor, and teacher
Franz Liszt (1811–1886). It occupies the exact upper-ground-floor rooms
(Hochparterre) of the modest two-story house at Wahnfriedstraße 9 where
Liszt lived during his visits to Bayreuth and where he died on the night
of 31 July/1 August 1886. The museum opened in 1993 and forms part of
Bayreuth’s rich musical heritage, standing immediately adjacent to Haus
Wahnfried (Richard Wagner’s former home, now the Richard Wagner Museum).
It complements the Wagner-focused documentation in the city by
highlighting Liszt’s familial ties (as father-in-law to Cosima Wagner)
and his role in the broader Bayreuth musical scene.
Liszt’s
Connection to Bayreuth and the House
Liszt’s links to Bayreuth date
back to the early 1870s, driven by his complex relationship with his
daughter Cosima and her husband Richard Wagner. He first visited in
October 1872 (his thirteenth and final stay would be in 1886). Wagner
had moved into the newly built Wahnfried in 1874, and Liszt supported
the Bayreuth Festival financially and artistically, including
contributions to the Festspielhaus construction in 1871. He performed
and rehearsed in nearby venues, such as the Rococo Hall of the
Steingraeber piano manufactory (where a 1873 Liszt grand piano he played
still stands and is used for concerts today).
By 1886, Liszt—already
frail—was invited by Cosima to attend the first Bayreuth Festival after
Wagner’s death in 1883. He arrived on 21 July, gravely ill with a severe
cold that rapidly developed into pneumonia. He stayed in the adjacent
Oberförsterhaus (chief forester’s house), the residence of the Fröhlig
family, which served as overflow lodging for festival guests and Wagner
circle visitors. The house was a practical, functional dwelling right
next to Wahnfried in the park-like setting. Despite his condition, Liszt
attended performances of Parsifal and Tristan und Isolde with great
effort. On 31 July he reportedly remarked, “I don’t think I’ll get up
from here again,” before taking to his bed. He endured a painful final
day with Cosima at his bedside; students and admirers gathered in the
salon and on the stairs. He died around midnight on 31 July/1 August in
the presence of Cosima. His body was first laid out in the death room,
then moved to the hall of Wahnfried. He was buried on 3 August 1886 in
the Bayreuth Stadtfriedhof (city cemetery), despite conflicting
instructions he had left about his burial wishes.
History of the
Building
The house itself was constructed in 1877 by local architect
Carl Wölfel as a simple Gründerzeit (founders’ era) structure of red
brick with a hip roof (Walmdach). A ten-step side staircase leads to the
upper-ground-floor entrance. It was originally built as the official
residence for the chief forester overseeing the Wahnfried grounds and
surrounding parkland. The building suffered severe bomb damage in 1945
during World War II but was later repaired. In the early 1990s the City
of Bayreuth acquired it specifically to house a Liszt museum, making
structural modifications (including breaking through walls) to adapt the
former apartment for public exhibition use. The museum occupies
precisely the rooms where Liszt resided and died, preserving the
intimate, historical atmosphere of his final days.
Establishment
of the Museum
The museum’s creation was made possible by the 1988
purchase by the City of Bayreuth of the most significant private Liszt
collection in existence—approximately 300 items (portraits,
illustrations, manuscripts, prints, documents, and personal artifacts)
assembled by Munich pianist, musicologist, and author Ernst Burger. This
acquisition formed the core of the museum’s holdings. The collection was
later supplemented by loans from the Richard Wagner Foundation
(Richard-Wagner-Stiftung). The museum officially opened on 22 October
1993—Liszt’s 182nd birthday—in a ceremony that underscored its role as a
complement to the nearby Wagner documentation. It is operated by the
City of Bayreuth; its current director is Dr. Sven Friedrich. A full
digital database of the exhibits (photographed in 2009) is publicly
accessible online. A complete redesign was planned for around 2020 to
modernize the presentation.
The museum is situated at Wahnfriedstraße 9, 95444 Bayreuth, in a modest historic building that served as Liszt's final residence. This structure, originally the home of a forest ranger, features a simple yet evocative design with period-appropriate interiors that evoke the late 19th century. The layout is compact, spanning one floor with narrow rooms that guide visitors through Liszt's life chronologically. Key highlights include access to the room where Liszt died, preserved with informational displays about his last days. The location is highly convenient, directly next to Villa Wahnfried (now the Richard Wagner Museum), in Bayreuth's cultural heart. Nearby attractions include the Margravial Opera House (a UNESCO site), the Jean Paul Museum, and the Masonic Museum, making it part of a walkable historical district. Additional Liszt-related sites in Bayreuth include his tomb at the city cemetery and a bust by sculptor Arno Breker in the park near the Festspielhaus (Festival Theater), paired with a Wagner bust by the same artist.
The Franz-Liszt-Museum in Bayreuth is a compact, intimate permanent
exhibition (Dauerausstellung) housed in the exact building where Franz
Liszt died on 31 July 1886. Located at Wahnfriedstraße 9, directly next
to Haus Wahnfried (Richard Wagner’s former home and now part of the
Richard-Wagner-Museum complex), it occupies the upper floor
(Hochparterre) of a simple two-storey red-brick Gründerzeit house built
in 1877. Liszt stayed here during his final visit to the Bayreuth
Festival; he was already seriously ill, and he passed away in the
presence of his daughter Cosima Wagner. The museum opened on 22 October
1993 (Liszt’s 182nd birthday) after the city acquired the property in
the early 1990s and made structural changes (including breaking through
walls to create a logical visitor flow).
Origins of the
Collection
The core of the exhibition comes from a private collection
of roughly 300 items—portraits, photographs, prints, manuscripts,
documents, and personal objects—purchased by the city of Bayreuth in
1988 from Munich pianist and Liszt scholar Ernst Burger. It has been
supplemented over the years by loans from the Richard-Wagner-Stiftung.
In 2023 the museum added one of its most precious recent acquisitions:
the earliest surviving photograph of Liszt, a 1843 daguerreotype by
Hermann Biow from the Burger collection (acquired with support from
several foundations specifically in view of a planned redesign).
Exhibition Concept and Atmosphere
The exhibition is deliberately
chronological and biographical rather than thematic or overly
interpretive. It leads visitors on a narrow, linear path through the
rooms of Liszt’s former apartment on a single floor, tracing the major
stages of his life and artistic development. Biographical panels (in
German, with some English/French options available) summarise each phase
succinctly but informatively. A high-quality 5-channel audio system
plays Liszt’s music throughout the rooms, creating an atmospheric,
almost living soundtrack that visitors can often control or request
specific pieces for.
The space feels authentic and intimate rather
than lavish—more like stepping into the composer’s final residence than
a grand museum. Recent visitors (including 2025 reviews) describe it as
“small but very educational,” “narrow but well-curated,” and note that
the self-guided tour takes 20–45 minutes. It is not a flashy multimedia
experience; the focus remains on original artefacts presented with
restraint.
Walkthrough of the Exhibition (Chronological Stages)
Although the exact room-by-room layout is not publicly mapped in detail,
the flow generally follows Liszt’s life:
Early years and virtuoso
period (childhood–1840s): Portraits, early photographs (including the
newly acquired 1843 daguerreotype), concert programmes, and documents
from his prodigy years and European tours. You’ll see the youthful diary
and early manuscripts that illustrate his meteoric rise as the “Paganini
of the piano.”
Weimar years and compositional maturity (1848–1861):
Focus on his time as court conductor, his relationship with the
Altenburg circle, and key works. Manuscripts, letters, and portraits
highlight his shift from touring virtuoso to composer and teacher.
Rome, the Abbé period, and later travels (1860s–1870s): Religious turn,
Franciscan orders, and philanthropic activities are covered through
correspondence, portraits, and personal items.
Bayreuth connection
and final years: The exhibition culminates in the rooms tied to Liszt’s
repeated visits to Bayreuth and his close family ties to the Wagners (he
was Cosima’s father and Wagner’s father-in-law). Special emphasis is
placed on his 1886 stay and death.
The actual death room
(Sterbezimmer) is preserved and forms a poignant highlight. Here you can
see the spot where Liszt died, along with objects directly linked to his
final days.
Highlight Exhibits
Key artefacts that stand out
across the rooms include:
Personal objects: Liszt’s silent piano
(Stummklavier) — a practice instrument without strings that allowed him
to play without disturbing others — and the Ibach grand piano that once
stood in the hall of Villa Wahnfried.
Masks and sculptures: A life
mask and the famous death mask, plus a bust by Antonio Galli.
Correspondence and manuscripts: Letters and notes, including intimate
exchanges with Richard Wagner; the youthful diary; and various
handwritten scores and first editions.
Visual material: A rich
collection of portraits, engravings, photographs, and prints (many from
the Burger collection), showing Liszt at different ages and in different
roles (virtuoso, teacher, Abbé).
Three-dimensional items: Personal
belongings and memorabilia that give a tangible sense of his daily life
and travels.
Practical Notes (as of 2026)
Opening hours:
September–June: daily 10:00–12:00 and 14:00–17:00; July–August: daily
10:00–17:00 (subject to minor changes; confirm locally).
Admission:
Around €2–4 (very affordable); concessions available.
Note on
redesign: A full redesign was discussed and planned around 2020–2022
(with preparatory work and the 2023 daguerreotype purchase tied to it),
but recent visitor accounts confirm the exhibition remains in its
established chronological format with the same core artefacts. No major
overhaul appears to have been implemented yet.
Nearby
Liszt-Related Sites in Bayreuth
While not part of the museum proper,
visitors often combine the visit with:
Liszt’s tomb at the
Stadtfriedhof.
The original 1873 Liszt grand piano (still played in
concerts) in the Rococo Hall of Steingraeber & Söhne piano manufactory.
A separate permanent photo exhibition at Steingraeber Haus featuring the
largest collection of original historical photographs of Liszt, arranged
by life periods.
Several items stand out for their historical and personal
significance:
Manuscripts and Documents: Original scores and letters
that illuminate Liszt's creative process and correspondences.
Portraits and Photographs: A series depicting Liszt at various life
stages, including works that capture his charismatic persona.
Personal Utensils and Objects: Items from Liszt's possession, such as
everyday belongings that offer a glimpse into his private life.
Instruments: Displays of pianos and related memorabilia, highlighting
his revolutionary piano techniques.
While not in the main museum,
related notable artifacts include Liszt's original 1873 grand piano at
the nearby Steingraeber & Söhne piano manufacturer (in the rococo hall),
where he performed and which still hosts concerts, and the largest
collection of his historical recordings at Steingraeber Haus, divided
into nine life periods starting from 1843.