Marking all the European cities that Liszt visited as a pianist or conductor would also draw a map of the offices of his music publishers. Such interconnection between concert life and music publishing is not unique to his career at all, as these two institutions of the urban music scene remained interdependent ever since their rise in the eighteenth century and during their golden era in the nineteenth century. However, the way that Liszt was able to grab and maintain the interest of so many bigger or smaller hubs of the music scene and music publishing through his own effort for decades is unique. The incredible intensity of his performing career has always been a popular topic. Much less attention has been given to the fact that he had over 120 publishing partners over his career, which is more than any of his contemporaries’ connections. And this remarkably high number was not an accident; Liszt achieved it through his versatile professional skills and exceptional flexibility. Publishers had to show similar virtues mutatis mutandis in order to establish long-term partnerships with composers and for their own profitability. Liszt met about 50 per cent of his publishers in Paris, and later during his travels and tours in the 1830s and 1840s. After his virtuoso career ended in 1847 and he settled in Weimar, foreign publishers lost some of their interest in him, while that of German publishers was maintained until his death; in fact, it became even stronger. Over his six-decade-long career, his compositions were published by at least forty-five German, twenty-four French, fifteen British, eleven Austrian, eight Italian and eight Russia-based publishers, as well as a few Hungarian, Czech, Swiss and Dutch publishers.