Posts in Franz Liszt

Liszt - Konzertetüden, S. 145 - 1. Waldesrauschen - Music | History Two Concert Études (Zwei Konzertetüden), S.145, is a set of two piano works composed in Rome around 1862/63 by Franz Liszt and dedicated to Dionys Pruckner, but intended for Sigmund Lebert and Ludwig Stark’s Klavierschule. It consists of two parts: "Waldesrauschen" (Forest Murmurs) and "Gnomenreigen" (Dance of the Gnomes). "Waldesrauschen", in D-flat major, is the first of the two pieces in this set. It is known for its beauty and imitation of wind in the forest. "Gnomenreigen" is in F-sharp minor. It is known for its technical difficulty in its fast and soft passages, where the pianist imitates the sound of gnomes. It first has a theme in F-sharp minor consisting of grace notes followed by eights. Then it goes to a fast, playful theme in A major. It repeats themes, and also has a theme with repeating bass notes, such as the sixty consecutive low Ds. Finally, the A major theme is repeated for a climactic part of the étude, this time in F-sharp major. The piece was heard in an orchestral arrangement as part of the Little Mermaid Ballet in the 1952 Danny Kaye film, Hans Christian Andersen. We are a cultural channel specializing in classical music. Our goal is to spread classical music to the greatest number of people. Here you will find musics for studying, concentration, relaxing and working. Explore our channel and listen to more works by Mozart, Chopin, Beethoven, Tchaikovsky, Bach, Haydn, Schumann, Schubert, Vivaldi, Dvorak, Debussy and more! I hope you enjoy it and don't forget to Subscribe. 🎧 🔴 Facebook: https://www.facebook.com/TopClassicalMusic 🔴 WebSite: http://www.melhoresmusicasclassicas.com #MusicHistory #ClassicalMusic #Liszt

Liszt - Ave verum corpus, S. 44 - Music | History Franz Liszt was a Hungarian pianist and composer of enormous influence and originality. He was renowned in Europe during the Romantic movement. By the time Franz Liszt was 9 years old, he was performing in concert halls. As an adult, he toured extensively throughout Europe. He had an affair and children with Marie díAgoult and later lived with Princess Carolyne zu Sayn-Wittgenstein. By his death, he had written more than 700 compositions. Liszt was born on October 22, 1811, in Raiding, Hungary. His father, Adam, played the cello, as well as several other instruments, and passionately taught Franz how to play piano. By the age of 6, young Liszt was recognized as a child prodigy; by the age of 8, he was composing elementary works; and by the age of 9, he was appearing in concerts. His father worked as a secretary for Prince Nicholas Esterhazy, and, after the boy played for a group of wealthy sponsors, he asked the prince for extended leave so he could devote his time to enriching his son's musical education. Father and son traveled to Vienna, and Antonio Salieri, Mozart's old rival, quickly became a proponent of Liszt's genius. Upon hearing the boy play at a private home, he offered to train him in composition free of charge. For several months, the young pianist held performances for both musicians and kings. His most impressive talent was his uncanny ability to improvise an original composition from a melody suggested by an audience member. At the age of 12, Liszt traveled with his father to Paris to seek admittance to the Paris Conservatory. The admissions council denied him a place in the school on the grounds that he was a foreigner. His father, ever determined, turned to Ferdinando Paer to teach his son advanced composition. It was during this time that Liszt wrote his first and only opera, Don Sanche. In 1833, at the age of 22, Liszt met the Comtesse Marie d'Agoult. Inspired by love and nature, he composed several impressions of the Swiss countryside in "Album d'un voyageur," which would later surface as the "Années de Pèlerinage" ("Years of Pilgrimage"). In 1834, Liszt debuted his piano compositions "Harmonies poétiques et religieuses" and a set of three "Apparitions." Strengthened by new works and several public performances, Liszt began to take Europe by storm. His reputation was bolstered even further by the fact that he gave away many of his concert proceeds to charities and humanitarian causes. For example, when in 1842 he found out about the Great Fire of Hamburg, which had destroyed much of the city, he gave concerts to create aid for its thousands of homeless. On a personal level, however, matters were less than glorious for Liszt. His relationship with Marie d'Agoult, which by that point had produced three children, finally ended. In 1847, while in Kiev, Liszt met Princess Carolyne zu Sayn-Wittgenstein. Her influence on him was dramatic; she encouraged him to stop touring and, instead, teach and compose, so he could have a more domestic life with her. Liszt gave his final concert for pay at Elisavetgrad in September, and then spent the winter with the princess at her estate in Woronince. The decade that followed was a difficult one for Liszt. In December of 1859, he lost his son Daniel, and in September of 1862, his daughter Blandine also died. In 1860, one of Liszt's rivals, Johannes Brahms, co-published a manifesto against him and the modern composers, just one chapter in what was to become known as the War of the Romantics. In that same year, Liszt and Carolyne attempted to wed in Rome, but on the eve of their marriage, their plans were thwarted due to her incomplete divorce papers. Discouraged, Liszt vowed to live a more solitary life, and in 1863 moved to a small, basic apartment in the monastery Madonna del Rosario, just outside of Rome. In 1865, Liszt received the tonsure, the traditional haircut kept by monks during that period, and was from then on sometimes called "the Abbé Liszt." On July 31, 1865, he received the four minor orders in the Catholic Church. He continued, however, to work on new compositions, and in later years, he established the Royal National Hungarian Academy of Music in Budapest. Liszt's works in his later years were simpler in form, yet more extreme in harmony. He died on July 31, 1886, in Bayreuth, Germany. We are a cultural channel specializing in classical music. Our goal is to spread classical music to the greatest number of people. Here you will find musics for studying, concentration, relaxing and working. Explore our channel and listen to more works by Mozart, Chopin, Beethoven, Tchaikovsky, Bach, Haydn, Schumann, Schubert, Vivaldi, Dvorak, Debussy and more! I hope you enjoy it and don't forget to Subscribe. 🎧 🔴 Facebook: https://www.facebook.com/TopClassicalMusic 🔴 WebSite: http://www.melhoresmusicasclassicas.com #MusicHistory #ClassicalMusic #Liszt

Liszt - Années de pèlerinage II, S. 161 Années de pèlerinage (French for Years of Pilgrimage) (S.160, S.161, S.163) is a set of three suites for solo piano by Franz Liszt. Much of it derives from his earlier work, Album d'un voyageur, his first major published piano cycle, which was composed between 1835 and 1838 and published in 1842. Années de pèlerinage is widely considered as the masterwork and summation of Liszt's musical style. The third volume is notable as an example of his later style. Composed well after the first two volumes, it displays less virtuosity and more harmonic experimentation. The title Années de pèlerinage refers to Goethe's famous novel of self-realization, Wilhelm Meister's Apprenticeship, and especially its sequel Wilhelm Meister's Journeyman Years (whose original title Wilhelm Meisters Wanderjahre meant Years of Wandering or Years of Pilgrimage, the latter being used for its first French translation). Liszt clearly places these compositions in line with the Romantic literature of his time, prefacing most pieces with a literary passage from writers such as Schiller, Byron or Senancour, and, in an introduction to the entire work, writing: Having recently travelled to many new countries, through different settings and places consecrated by history and poetry; having felt that the phenomena of nature and their attendant sights did not pass before my eyes as pointless images but stirred deep emotions in my soul, and that between us a vague but immediate relationship had established itself, an undefined but real rapport, an inexplicable but undeniable communication, I have tried to portray in music a few of my strongest sensations and most lively impressions. We are a cultural channel specializing in classical music. Our goal is to spread classical music to the greatest number of people. Here you will find musics for studying, concentration, relaxing and working. Explore our channel and listen to more works by Mozart, Chopin, Beethoven, Tchaikovsky, Bach, Haydn, Schumann, Schubert, Vivaldi, Dvorak, Debussy and more! I hope you enjoy it and don't forget to Subscribe. 🎧 🔴 Facebook: https://www.facebook.com/TopClassicalMusic 🔴 WebSite: http://www.melhoresmusicasclassicas.com #MusicHistory #ClassicalMusic #Liszt

Liszt -Liebesträume, S 541 Liebesträume (German for Dreams of Love) is a set of three solo piano works (S.541/R.211) by Franz Liszt, published in 1850. Originally the three Liebesträume were conceived as lieder after poems by Ludwig Uhland and Ferdinand Freiligrath. In 1850, two versions appeared simultaneously as a set of songs for high voice and piano, and as transcriptions for piano two-hands. The two poems by Uhland and the one by Freiligrath depict three different forms of love. Uhland's "Hohe Liebe" (exalted love) is saintly or religious love: the "martyr" renounces worldly love and "heaven has opened its gates". The second song "Seliger Tod" (blessed death) is often known by its first line ("Gestorben war ich", "I had died"), and evokes erotic love; ("I was dead from love's bliss; I lay buried in her arms; I was wakened by her kisses; I saw heaven in her eyes"). Freiligrath's poem for the famous third Notturno is about unconditional mature love ("Love as long as you can!", "O lieb, so lang du lieben kannst"). We are a cultural channel specializing in classical music. Our goal is to spread classical music to the greatest number of people. Here you will find musics for studying, concentration, relaxing and working. Explore our channel and listen to more works by Mozart, Chopin, Beethoven, Tchaikovsky, Bach, Haydn, Schumann, Schubert, Vivaldi, Dvorak, Debussy and more! I hope you enjoy it and don't forget to Subscribe. 🎧 🔴 Facebook: https://www.facebook.com/TopClassicalMusic 🔴 WebSite: http://www.melhoresmusicasclassicas.com #MusicHistory #ClassicalMusic #Liszt

Its genesis is well documented in letters from which we know that Liszt was Richard Wagner's guest in the Palazzo Vendramin on the Grand Canal in Venice in late 1882. Liszt may have had a premonition there of Wagner's death which inspired the first version of the work: a piano piece in 4 4, written in December 1882 (which remained unpublished until the Rugginenti edition of 2002). This piece was recomposed the next month, in January 1883, and very shortly thereafter arranged for violin or cello and piano. The piano version was published in 1885, with minor changes (this version is today usually called La lugubre gondola II). This was the only version of this piece published in Liszt's lifetime. Wagner died in Venice on February 13, 1883, and the long funeral procession to Bayreuth began with the funeral gondola to Venice's Santa Lucia railway station. Liszt was by now almost certainly considering the piece to be a Wagner memorial, and in 1885 he returned to the string version and replaced the last three bars with a twenty-bar coda. This was probably done before the publication of the solo version, because the new extended string version does not contain the minor alterations in the published solo version. According to Liszt's correspondence with Lina Ramann, La Lugubre Gondola was originally to have been entitled Troisième élégie and was to have been dedicated to her. There is an undated manuscript, clearly from the end of Liszt's life, of a starker version of the piece in 6 8 for piano solo - virtually a new composition. It remained unpublished until 1927, when it was published alongside the other version of the piece, but with the same title. So since 1927, the 4 4 piece has been known as La lugubre gondola II, and the hitherto unpublished 6 8 piece is usually called La lugubre gondola I. It is unfortunate that the numbering which attached itself to these two works puts them out of chronology. The opening single melodic line of La Lugubre Gondola No. 2 can be seen to be inspired by Wagner’s unending melodies, and the unresolved diminished sevenths and unfinished phrases are reminiscent of the Prelude to Wagner's Tristan und Isolde. Liszt then develops this into a more lyrical, romantic line. Franz Liszt La Lugubre Gondola S 200 For more: http://www.melhoresmusicasclassicas.blogspot.com #MusicHistory #ClassicalMusic #Liszt

Franz Liszt (22 October 1811 – 31 July 1886) was a Hungarian composer, virtuoso pianist, conductor, music teacher, arranger and organist of the Romantic era. He was also a writer, a philanthropist, a Hungarian nationalist and a Franciscan tertiary. Liszt gained renown in Europe during the early nineteenth century for his prodigious virtuosic skill as a pianist. He was a friend, musical promoter and benefactor to many composers of his time, including Frédéric Chopin, Richard Wagner, Hector Berlioz, Robert Schumann, Camille Saint-Saëns, Edvard Grieg, Ole Bull, Joachim Raff, Mikhail Glinka, and Alexander Borodin. A prolific composer, Liszt was one of the most prominent representatives of the New German School (Neudeutsche Schule). He left behind an extensive and diverse body of work which influenced his forward-looking contemporaries and anticipated 20th-century ideas and trends. Among Liszt's musical contributions were the symphonic poem, developing thematic transformation as part of his experiments in musical form, and radical innovations in harmony.[2] Franz Liszt Tracklist: 1. Hungarian Rhapsody (Héroïde-élégiaque), for piano No. 5 in E minor, 2. Piano Concerto No. 2, for piano & orchestra in A major, S. 125 (LW H6) 3. Piano Concerto No. 2, for piano & orchestra in A major, S. 125 (LW H6) 4. Piano Concerto No. 2, for piano & orchestra in A major, S. 125 (LW H6) 5. Piano Concerto No. 2, for piano & orchestra in A major, S. 125 (LW H6) 6. Piano Concerto No. 2, for piano & orchestra in A major, S. 125 (LW H6) 7. Piano Concerto No. 2, for piano & orchestra in A major, S. 125 (LW H6) 8. Orpheus, symphonic poem for orchestra, S. 98 (LW G9) 9. Les Préludes, symphonic poem for orchestra, S. 97 (LW G3) For more: http://www.melhoresmusicasclassicas.blogspot.com #MusicHistory #ClassicalMusic #Liszt