When Liszt accepted the invitation of Charles Alexander, Grand Duke of Saxe-Weimar-Eisenach, and took the position of conductor in Weimar, a city with a once brilliant cultural life, he knew full well he was also to fill the shoes of Johann Sebastian Bach, who had worked there over a century before. “As Liszt walked through the cobbled streets of the city, he became acutely aware of Bach’s spiritual presence, and it was natural that he should want to memorialize this musical genius,” Alan Walker wrote. He was heightened interested in those years not only in the music of Bach, but in the organ as an instrument as well, and as in every field of music, in this too he became the champion of radical change. Towards the end of his life he made what was an almost unaffordable contribution to a Bach monument that was to be erected in the composer’s town of birth, Eisenach.