Question: Who is the child of Liszt's mistress?

full_context: Document 1: Oliver Hilmes: Oliver Hilmes (born 1971 in Viersen, Germany) is a German author who has written several historical biographies. His study of Cosima Wagner, the daughter of the 19th century composer Franz Liszt and his biography of Alma Mahler a Viennese-born socialite, have been translated into English.
Document 2: August Conradi: Conradi probably met Liszt in the early 1840s. He served as Liszt's copyist in Weimar in January and February 1844, and he spent 18 months there in 1848 and 1849 at Liszt's instigation. Conradi prepared copies of the initial versions of Liszt's orchestral works, making suggestions on scoring. He also assisted Liszt in assembling a "Programme general" of all the repertory he had played during his virtuoso years. While Conradi was an extremely hard worker, he also possessed a somewhat routine mind. When he received his appointment as Kapellmeister in Stettin in the winter of 1849, his work at Weimar was taken over by the more imaginative Joachim Raff. Nevertheless, Liszt continued to use him as a copyist. In September, 1855 Liszt wrote of his intention to send the score of his "Psalm 13" to Berlin so that Conradi could make a fair copy for the first performance there.
Document 3: Frédéric Chopin: Although it is not known exactly when Chopin first met Liszt after arriving in Paris, on 12 December 1831 he mentioned in a letter to his friend Woyciechowski that "I have met Rossini, Cherubini, Baillot, etc.—also Kalkbrenner. You would not believe how curious I was about Herz, Liszt, Hiller, etc." Liszt was in attendance at Chopin's Parisian debut on 26 February 1832 at the Salle Pleyel, which led him to remark: "The most vigorous applause seemed not to suffice to our enthusiasm in the presence of this talented musician, who revealed a new phase of poetic sentiment combined with such happy innovation in the form of his art."
Document 4: Frédéric Chopin: Although the two displayed great respect and admiration for each other, their friendship was uneasy and had some qualities of a love-hate relationship. Harold C. Schonberg believes that Chopin displayed a "tinge of jealousy and spite" towards Liszt's virtuosity on the piano, and others have also argued that he had become enchanted with Liszt's theatricality, showmanship and success. Liszt was the dedicatee of Chopin's Op. 10 Études, and his performance of them prompted the composer to write to Hiller, "I should like to rob him of the way he plays my studies." However, Chopin expressed annoyance in 1843 when Liszt performed one of his nocturnes with the addition of numerous intricate embellishments, at which Chopin remarked that he should play the music as written or not play it at all, forcing an apology. Most biographers of Chopin state that after this the two had little to do with each other, although in his letters dated as late as 1848 he still referred to him as "my friend Liszt". Some commentators point to events in the two men's romantic lives which led to a rift between them; there are claims that Liszt had displayed jealousy of his mistress Marie d'Agoult's obsession with Chopin, while others believe that Chopin had become concerned about Liszt's growing relationship with George Sand.
Document 5: Frédéric Chopin: In 1836, at a party hosted by Marie d'Agoult, Chopin met the French author George Sand (born [Amantine] Aurore [Lucile] Dupin). Short (under five feet, or 152 cm), dark, big-eyed and a cigar smoker, she initially repelled Chopin, who remarked, "What an unattractive person la Sand is. Is she really a woman?" However, by early 1837 Maria Wodzińska's mother had made it clear to Chopin in correspondence that a marriage with her daughter was unlikely to proceed. It is thought that she was influenced by his poor health and possibly also by rumours about his associations with women such as d'Agoult and Sand. Chopin finally placed the letters from Maria and her mother in a package on which he wrote, in Polish, "My tragedy". Sand, in a letter to Grzymała of June 1838, admitted strong feelings for the composer and debated whether to abandon a current affair in order to begin a relationship with Chopin; she asked Grzymała to assess Chopin's relationship with Maria Wodzińska, without realising that the affair, at least from Maria's side, was over.
Document 6: Frédéric Chopin: Four boarders at his parents' apartments became Chopin's intimates: Tytus Woyciechowski, Jan Nepomucen Białobłocki, Jan Matuszyński and Julian Fontana; the latter two would become part of his Paris milieu. He was friendly with members of Warsaw's young artistic and intellectual world, including Fontana, Józef Bohdan Zaleski and Stefan Witwicki. He was also attracted to the singing student Konstancja Gładkowska. In letters to Woyciechowski, he indicated which of his works, and even which of their passages, were influenced by his fascination with her; his letter of 15 May 1830 revealed that the slow movement (Larghetto) of his Piano Concerto No. 1 (in E minor) was secretly dedicated to her – "It should be like dreaming in beautiful springtime – by moonlight." His final Conservatory report (July 1829) read: "Chopin F., third-year student, exceptional talent, musical genius."
Document 7: Tannhäuser (opera): Tannhäuser (; full title Tannhäuser und der Sängerkrieg auf Wartburg, "Tannhäuser and the Minnesingers' Contest at Wartburg") is an 1845 opera in three acts, music and text by Richard Wagner, (WWV 70 in the catalogue of the composer's works) based on two German legends: Tannhäuser, the legendary medieval German Minnesänger and poet, and the tale of the Wartburg Song Contest. The story centers on the struggle between sacred and profane love, and redemption through love, a theme running through much of Wagner's mature work.
Document 8: Emma Seehofer: Emma Seehofer (before 1854 – 1912) was a German operatic contralto who was a principal artist at the Bavarian State Opera in Munich from 1854 to 1887. She created the roles of Erda in Richard Wagner's "Das Rheingold" on 22 September 1869 and Schwertleite (one of the Valkyries) in Wagner's "Die Walküre" on 26 June 1870. She was also highly active as a concert singer. After retiring from the stage, she worked as a singing teacher in Munich. She died at Mannheim.
Document 9: Luise Willer: Luise Willer (1888–1970) was a German operatic contralto. She made her professional opera debut in 1910 as Annius in Wolfgang Amadeus Mozart's "La clemenza di Tito". She spent most of her career performing at the Bavarian State Opera in Munich. At the Bayreuth Festival, she portrayed Brängane in "Tristan und Isolde". She created roles in several world premieres during her career, including Barbara in Erich Wolfgang Korngold's "Violanta" (1916), Lukrezia in Hans Pfitzner's "Palestrina" (1917), Graben-Liese in Franz Schreker's "Das Spielwerk" (1920), and Herzogin in Pfitzner's "Das Herz" (1931) among others.
Document 10: Frédéric Chopin: Chopin's relations with Sand were soured in 1846 by problems involving her daughter Solange and Solange's fiancé, the young fortune-hunting sculptor Auguste Clésinger. The composer frequently took Solange's side in quarrels with her mother; he also faced jealousy from Sand's son Maurice. Chopin was utterly indifferent to Sand's radical political pursuits, while Sand looked on his society friends with disdain. As the composer's illness progressed, Sand had become less of a lover and more of a nurse to Chopin, whom she called her "third child". In letters to third parties, she vented her impatience, referring to him as a "child," a "little angel", a "sufferer" and a "beloved little corpse." In 1847 Sand published her novel Lucrezia Floriani, whose main characters—a rich actress and a prince in weak health—could be interpreted as Sand and Chopin; the story was uncomplimentary to Chopin, who could not have missed the allusions as he helped Sand correct the printer's galleys. In 1847 he did not visit Nohant, and he quietly ended their ten-year relationship following an angry correspondence which, in Sand's words, made "a strange conclusion to nine years of exclusive friendship." The two would never meet again.
Document 11: Frédéric Chopin: The 21 nocturnes are more structured, and of greater emotional depth, than those of Field (whom Chopin met in 1833). Many of the Chopin nocturnes have middle sections marked by agitated expression (and often making very difficult demands on the performer) which heightens their dramatic character.
Document 12: Siegfried Wagner: Siegfried Wagner (6 June 18694 August 1930) was a German composer and conductor, the son of Richard Wagner. He was an opera composer and the artistic director of the Bayreuth Festival from 1908 to 1930.
Document 13: Cosima Wagner: Cosima Wagner (born Francesca Gaetana Cosima Liszt; 24 December 1837 – 1 April 1930) was the illegitimate daughter of the Hungarian pianist and composer Franz Liszt and Marie d'Agoult. She became the second wife of the German composer Richard Wagner, and with him founded the Bayreuth Festival as a showcase for his stage works; after his death she devoted the rest of her life to the promotion of his music and philosophy. Commentators have recognised Cosima as the principal inspiration for Wagner's later works, particularly "Parsifal".
Document 14: Frédéric Chopin: Jones comments that "Chopin's unique position as a composer, despite the fact that virtually everything he wrote was for the piano, has rarely been questioned." He also notes that Chopin was fortunate to arrive in Paris in 1831—"the artistic environment, the publishers who were willing to print his music, the wealthy and aristocratic who paid what Chopin asked for their lessons"—and these factors, as well as his musical genius, also fuelled his contemporary and later reputation. While his illness and his love-affairs conform to some of the stereotypes of romanticism, the rarity of his public recitals (as opposed to performances at fashionable Paris soirées) led Arthur Hutchings to suggest that "his lack of Byronic flamboyance [and] his aristocratic reclusiveness make him exceptional" among his romantic contemporaries, such as Liszt and Henri Herz.
Document 15: Frédéric Chopin: Friederike Müller, a pupil of Chopin, wrote: "[His] playing was always noble and beautiful; his tones sang, whether in full forte or softest piano. He took infinite pains to teach his pupils this legato, cantabile style of playing. His most severe criticism was 'He—or she—does not know how to join two notes together.' He also demanded the strictest adherence to rhythm. He hated all lingering and dragging, misplaced rubatos, as well as exaggerated ritardandos ... and it is precisely in this respect that people make such terrible errors in playing his works."
ground_truth: Cosima Wagner
sub_queries: What was the name of Liszt's mistress? Answer: Marie d'Agoult
Marie d'Agoult >> child Answer: Cosima Wagner