Franz Liszt, the legendary 19th-century composer, and virtuoso pianist, revolutionized piano music with his technical brilliance and innovative compositions. His works span a wide range of styles and forms, showcasing his extraordinary creativity and profound musical insight. Here are ten of his most celebrated compositions:

1. Hungarian Rhapsody No. 2 in C-sharp minor

One of Liszt’s most famous works, the “Hungarian Rhapsody No. 2” is a dazzling display of virtuosic piano technique and expressive depth. Inspired by Hungarian folk music, this piece captivates audiences with its dramatic contrasts, from the fiery opening to the lyrical middle section and the exhilarating finale.

2. Liebestraum No. 3 in A-flat major

“Liebestraum” translates to “Dream of Love,” and this piece is one of Liszt’s most beloved piano works. The third of three nocturnes, “Liebestraum No. 3” is renowned for its romantic, flowing melodies and expressive richness, evoking a sense of dreamy passion and tender emotion.

3. Piano Sonata in B minor

A pinnacle of Liszt’s compositional achievement, the “Piano Sonata in B minor” is a monumental work that defies traditional sonata form. This single-movement masterpiece unfolds in a continuous, seamless narrative, exploring a vast range of emotions and technical challenges, from lyrical passages to thunderous climaxes.

4. Totentanz (Dance of Death)

Inspired by the medieval “Dies Irae” chant, “Totentanz” is a fearsome and thrilling set of variations for piano and orchestra. This piece showcases Liszt’s virtuosic prowess and innovative use of the piano, creating a haunting, almost apocalyptic atmosphere that leaves a lasting impression.

5. Years of Pilgrimage (Années de pèlerinage)

This collection of piano pieces reflects Liszt’s travels and experiences across Europe. Divided into three volumes, “Years of Pilgrimage” captures the beauty, culture, and spirit of places like Switzerland and Italy. Highlights include “Vallée d’Obermann,” “Les cloches de Genève,” and “Sposalizio.”

6. Mephisto Waltz No. 1

The “Mephisto Waltz No. 1” is a vivid and dramatic depiction of a scene from Nikolaus Lenau’s Faust. This piece is characterized by its diabolical energy, rapid tempo, and virtuosic demands, painting a musical picture of Faust’s wild dance with Mephistopheles.

7. Transcendental Études

A set of twelve études, the “Transcendental Études” push the boundaries of piano technique and expressiveness. Each étude presents unique technical challenges and musical character, from the tempestuous “Mazeppa” to the delicate and lyrical “Ricordanza.”

8. Les Préludes

As one of Liszt’s symphonic poems, “Les Préludes” is a groundbreaking work that illustrates the composer’s innovative approach to orchestral writing. Inspired by a poem by Alphonse de Lamartine, this piece explores themes of love, war, and fate, culminating in a powerful and triumphant finale.

9. Faust Symphony

Liszt’s “Faust Symphony” is a programmatic work inspired by Goethe’s epic poem “Faust.” This three-movement symphony portrays the characters of Faust, Gretchen, and Mephistopheles through rich orchestration and thematic development, creating a deeply expressive and dramatic musical narrative.

10. Consolations

The “Consolations” are a set of six short piano pieces that embody Liszt’s lyrical and introspective side. These pieces are characterized by their serene, meditative quality and simple, yet profound beauty, providing a contrast to Liszt’s more virtuosic works.

Conclusion

Franz Liszt’s compositions remain a cornerstone of the piano repertoire, celebrated for their technical brilliance, emotional depth, and innovative spirit. Whether through the dazzling virtuosity of the “Hungarian Rhapsodies” or the profound introspection of the “Piano Sonata in B minor,” Liszt’s music continues to captivate and inspire musicians and audiences alike.

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Early Life and Education

Franz Liszt, one of the most renowned composers and virtuoso pianists of the 19th century, was born on October 22, 1811, in the village of Raiding, in the Kingdom of Hungary (now in Austria). His father, Ádám Liszt, was an amateur musician who played the piano, violin, and guitar, and worked as an overseer on the Esterházy estate. Recognizing Franz’s prodigious talent early on, Ádám provided his son with his initial musical training.

By the age of six, Liszt was already showing remarkable musical abilities, composing simple pieces and performing in public. His talent caught the attention of Hungarian nobility, who sponsored his musical education. In 1821, the Liszt family moved to Vienna, where Franz studied under the legendary Carl Czerny for piano and Antonio Salieri for composition. His performances in Vienna were met with critical acclaim, earning him the admiration of luminaries such as Ludwig van Beethoven and Carl Czerny.

Rise to Fame

In 1823, the Liszt family moved to Paris, where Franz was denied entry to the Paris Conservatoire due to his foreign nationality. Nevertheless, he continued his studies privately with Anton Reicha and Ferdinando Paer. At the age of 12, Liszt published his first compositions and embarked on extensive concert tours across Europe, gaining widespread recognition for his extraordinary technical prowess and expressive depth.

Liszt’s early career was marked by a series of personal and professional challenges, including the death of his father in 1827. This event left Liszt, then only 16, responsible for supporting his mother, which he did through teaching and performing.

Virtuoso Pianist and Innovator

The 1830s and 1840s were a period of unparalleled success and transformation for Liszt. He emerged as a supreme virtuoso, revolutionizing piano performance with his unprecedented technique and expressive capabilities. His concerts were characterized by their emotional intensity, technical brilliance, and theatrical flair, drawing enormous crowds and establishing him as the first true “superstar” of classical music.

Liszt was also a pioneer of the solo piano recital, a concept he developed in 1839, where he performed entire concerts alone, a departure from the traditional format involving multiple performers. His innovative transcriptions of symphonies, operas, and other orchestral works for solo piano expanded the instrument’s repertoire and demonstrated its expressive potential.

Compositional Maturity and Later Life

Liszt’s compositional style evolved significantly over his career. Initially influenced by the Romanticism of his time, he developed a highly individual voice, blending virtuosic brilliance with profound emotional depth. His works from this period include the “Transcendental Études,” “Hungarian Rhapsodies,” and his first piano concerto.

In 1847, Liszt retired from the concert stage to focus on composition, conducting, and teaching. He accepted a position in Weimar as Kapellmeister, where he championed the works of contemporaries such as Wagner, Berlioz, and Schumann. His Weimar years were marked by significant compositional output, including his symphonic poems—a genre he invented—such as “Les Préludes” and “Hamlet.”

Liszt’s personal life during this period was complex. He had three children with Countess Marie d’Agoult, with whom he had a tumultuous relationship. Later, he formed a close bond with Princess Carolyne zu Sayn-Wittgenstein, who supported his artistic endeavors and influenced his spiritual and intellectual development.

Spiritual and Late Compositional Period

In his later years, Liszt experienced a profound religious transformation, reflected in his compositions. He took minor holy orders in the Catholic Church in 1865, becoming known as Abbé Liszt. His religious works, such as the oratorios “Christus” and “Die Legende von der Heiligen Elisabeth,” and numerous choral pieces, display his deep spiritual convictions.

During his final years, Liszt divided his time between Rome, Weimar, and Budapest, continuing to compose, teach, and influence a new generation of musicians. His later compositions, including the “Bagatelle sans tonalité” and the “Czardas macabre,” exhibited a forward-looking harmonic language that anticipated many 20th-century developments.

Legacy

Franz Liszt passed away on July 31, 1886, in Bayreuth, Germany, leaving behind a vast and diverse body of work that has had a lasting impact on the music world. He was not only a towering figure of the Romantic era but also a visionary who pushed the boundaries of musical expression and piano technique.

Liszt’s influence extended beyond his compositions and performances. As a teacher, he mentored many prominent pianists and composers, including Hans von Bülow, Carl Tausig, and Alexander Siloti, shaping the future of classical music. His advocacy for other composers and his innovations in piano performance and recital format solidified his place as a pivotal figure in the history of Western music.

In sum, Franz Liszt’s extraordinary talent, innovative spirit, and profound contributions to music have earned him a revered place among the greatest composers and performers of all time. His legacy continues to inspire and challenge musicians and audiences alike.

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Franz Liszt, a towering figure in the realm of classical music, was born on October 22, 1811, in Raiding, Hungary (now part of Austria). His life was a symphony of talent, passion, and innovation, leaving an indelible mark on the world of music.

From an early age, Liszt showed prodigious musical abilities. He began piano lessons with his father at the age of six and gave his first public performance at the age of nine. Recognizing his son’s exceptional talent, Liszt’s father sought out professional tutelage for him, taking him to Vienna to study with Carl Czerny and Antonio Salieri. By his teenage years, Liszt had already established himself as a virtuoso pianist, captivating audiences across Europe with his extraordinary skill and electrifying performances.

• Musical Prodigy: Franz Liszt was born on October 22, 1811, in Raiding, Hungary (now part of Austria). He demonstrated remarkable musical talent from a very young age, receiving his first piano lessons from his father at the age of six.

• Virtuoso Pianist: Liszt quickly gained fame as one of the greatest piano virtuosos of all time. His performances were known for their incredible technical brilliance, emotional intensity, and showmanship.

• Innovator of the Piano Recital: Liszt played a crucial role in popularizing the solo piano recital. He was one of the first musicians to perform entire concerts without the support of other musicians, which was a revolutionary concept at the time.

• Composer and Innovator: While Liszt was primarily known as a pianist, he was also a prolific composer. He made significant contributions to musical genres such as the symphonic poem and the piano sonata, pushing the boundaries of musical expression.

• Romantic Icon: Liszt was a central figure in the Romantic movement, both musically and personally. He had numerous affairs with prominent women of the time, including the writer George Sand and the princess Carolyne zu Sayn-Wittgenstein.

• Teacher and Mentor: Liszt was a highly influential teacher and mentor to many aspiring musicians. He taught a generation of pianists, including virtuosos such as Hans von Bülow and Arthur Friedheim.

• Transcriber and Arranger: Liszt was known for his transcriptions and arrangements of works by other composers. He transformed pieces originally written for different instruments or ensembles into dazzling piano compositions, helping to popularize the music of composers such as Beethoven and Wagner.

• Religious Calling: Later in life, Liszt turned increasingly towards religious pursuits. He took minor orders in the Catholic Church and composed a significant amount of religious music, including his monumental oratorio “Christus.”

• Cosmopolitan Lifestyle: Liszt lived a cosmopolitan lifestyle, traveling extensively throughout Europe. He spent time in major cultural centers such as Vienna, Paris, and Weimar, where he held influential positions as a court musician and conductor.

• Legacy: Franz Liszt’s impact on the world of music is immense. He bridged the gap between the Classical and Romantic eras, influencing countless composers who came after him. His innovative approach to composition and performance continues to inspire musicians and audiences to this day.

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Franz Liszt, a Hungarian composer and piano virtuoso of the Romantic era, left an indelible mark on the world of classical music. Known for his extraordinary technical prowess and innovative compositions, Liszt’s music continues to captivate audiences today. In this blog post, we delve into the world of Liszt and explore his 10 best songs, showcasing his brilliance, passion, and versatility as a composer.

• “Hungarian Rhapsody No. 2”: One cannot begin a list of Liszt’s best songs without mentioning his iconic “Hungarian Rhapsody No. 2.” This exuberant and energetic piece embodies the essence of Liszt’s Hungarian roots, with its infectious melodies, rapid virtuosic passages, and fiery temperament. It remains one of the most popular and recognizable compositions in classical music.

• “Liebesträume No. 3”: In contrast to the thunderous power of some of his compositions, “Liebesträume No. 3” reveals Liszt’s sensitive and lyrical side. This dreamlike piece enchants listeners with its gentle, flowing melodies and introspective atmosphere, evoking a sense of romantic longing and yearning.

• “La Campanella”: Translating to “The Little Bell,” “La Campanella” is a dazzling showpiece that demands exceptional technical skill from the performer. Inspired by Niccolò Paganini’s violin works, Liszt’s piano adaptation is a breathtaking display of virtuosity, featuring lightning-fast runs, trills, and arpeggios that mimic the ringing of bells.

• “Consolation No. 3”: With its tender and soothing melodies, “Consolation No. 3” provides a moment of respite amidst the grandeur of Liszt’s repertoire. This introspective and delicate composition showcases Liszt’s ability to evoke profound emotions with his musical language, leaving a lasting impression on the listener.

• “Mephisto Waltz No. 1”: Based on the Faust legend, “Mephisto Waltz No. 1” embodies the diabolical and seductive character of Mephistopheles. Liszt skillfully weaves a tale of darkness and allure through dramatic chords, lightning-fast runs, and haunting melodies. This piece is a testament to Liszt’s ability to paint vivid musical pictures.

• “Un Sospiro”: Translated as “A Sigh,” “Un Sospiro” is a beautifully expressive and contemplative piece. Liszt captures the essence of melancholy and longing through cascading arpeggios, delicate trills, and delicate phrasing, creating a deeply emotional and introspective musical journey.

• “Transcendental Etude No. 10 ‘Appassionata'”: The “Transcendental Etudes” are among Liszt’s most challenging and virtuosic works, and the tenth etude, subtitled “Appassionata,” is a true tour de force. With its thundering octaves, lightning-fast scales, and explosive energy, this composition showcases Liszt’s technical brilliance and intensity.

• “Les jeux d’eau à la Villa d’Este”: Inspired by the fountains at the Villa d’Este in Italy, Liszt’s “Les jeux d’eau à la Villa d’Este” is a shimmering and impressionistic musical portrayal of water. Through cascading notes, rapid arpeggios, and delicate trills, Liszt creates a vivid sonic image of water splashing and glistening in the sunlight.

• “Funérailles”: As the title suggests, “Funérailles” is a haunting and mournful composition that pays tribute to those who fought and died during the Hungarian Revolution of 1848. Liszt’s use of powerful chords, dramatic gestures, and contrasting sections creates a highly evocative and emotionally charged piece that leaves a profound impact on the listener.

• “Les Preludes”: “Les Preludes” is a symphonic poem that exemplifies Liszt’s innovative approach to orchestration. Inspired by a poem by Alphonse de Lamartine, this composition weaves together various thematic ideas, representing the different stages of life. It is a grand and majestic work, showcasing Liszt’s mastery of orchestral colors and his ability to evoke powerful emotions.

Conclusion:

Franz Liszt’s music transcends time, capturing the hearts and minds of listeners with its sheer brilliance and emotional depth. The 10 songs discussed in this blog post merely scratch the surface of his vast and varied repertoire. Whether it be his virtuosic displays, tender expressions, or dramatic narratives, Liszt’s compositions continue to inspire awe and admiration, solidifying his position as one of the greatest composers in classical music history.

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Franz Liszt was one of the most influential and original composers of the 19th century. He was also a virtuoso pianist, a music teacher, a conductor, an organist, and a philanthropist. He was born in 1811 in Raiding, Hungary, and showed remarkable musical talent from an early age. He learned to play the piano from his father, who was a musician in the service of Prince Nicolas Eszterházy. He gave his first public concert at the age of nine and soon attracted the attention and support of wealthy patrons who sponsored his musical education.

Liszt traveled to Vienna, where he studied piano with Carl Czerny and composition with Antonio Salieri. He also met Beethoven, who praised his playing. He then moved to Paris, where he became acquainted with many prominent artists and writers, such as Chopin, Victor Hugo, and Heinrich Heine. He composed his first opera, Don Sanche, at the age of 14, but soon lost interest in composing and focused on performing and reading. He was deeply influenced by the Romantic movement and developed a passion for literature, art, and religion.

In 1833, Liszt fell in love with Countess Marie d’Agoult, a married woman who left her husband and children to live with him. They had three children together, one of whom was Cosima, who later married Richard Wagner. Liszt and d’Agoult traveled extensively throughout Europe, and Liszt gave numerous concerts that established his fame as a piano virtuoso. He also composed many works for piano, including his Transcendental Études, his Années de pèlerinage (Years of Pilgrimage), and his Hungarian Rhapsodies. He also invented the symphonic poem, a form of orchestral music that depicts a literary or pictorial theme.

In 1847, Liszt met Princess Carolyne zu Sayn-Wittgenstein, who became his lifelong companion and muse. She encouraged him to devote more time to composing and to pursue his religious interests. Liszt settled in Weimar, where he became the conductor of the court orchestra and a champion of new music. He composed many orchestral works, such as his Faust Symphony, his Dante Symphony, and his 12 symphonic poems. He also wrote several sacred choral works, such as his Masses and his oratorios Christus and The Legend of St. Elizabeth.

In 1861, Liszt moved to Rome, where he hoped to marry Princess Carolyne, but their plans were thwarted by the Vatican. Liszt then took minor orders in the Catholic Church and became an abbé. He continued to compose religious music, such as his Via Crucis and his Requiem. He also wrote experimental works that explored new harmonic and formal possibilities, such as his Bagatelle without Tonality and his Nuages gris (Gray Clouds).

Liszt spent his last years traveling between Rome, Weimar, and Budapest. He taught many piano students who became famous composers themselves, such as Grieg, Tchaikovsky, and Saint-Saëns. He also supported Wagner’s operas and attended the premiere of Parsifal in Bayreuth in 1882. He died in 1886 in Bayreuth at the age of 74.

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Grand duo concertant sur la Romance de M. Lafont ‘Le marin’, S.128 is a piece for solo violin and piano composed around 1849 by Franz Liszt. It has 2 sections which last 15 minutes in a typical performance.

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 1826, Adam Liszt passed away. The event proved to be extremely traumatic for the 15- year-old Franz Liszt, and it necessitated that he shares their one-bedroom Parisian apartment with his mother. In the years that followed, Franz Liszt lost interest in music to such a degree that he began to question his profession. He turned away from performing and started to read profusely, delving into books on the subjects of art and religion. What he read during that time would greatly influence his later musical works.

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 next year, the couple moved to Weimar, Germany, and Liszt began to concentrate on a higher missionóthe creation of new musical forms. His most famous achievement during this time was the creation of what would become known as the symphonic poem, a type of orchestral musical piece that illustrates or evokes a poem, a story, a painting, or other nonmusical source. Aesthetically, the symphonic poem is in some ways related to opera; it is not sung, but it does unite music and drama. Liszt’s new works inspired eager pupils to seek his guidance. For the next 10 years, Liszt’s radical and innovative works found their way into the concert halls of Europe, winning him staunch followers and violent adversaries.

Liszt – Grand duo concertant sur le ‘Le marin’, S.128

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Liszt Biography – Music Collection – 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 1826, Adam Liszt passed away. The event proved to be extremely traumatic for the 15- year-old Franz Liszt, and it necessitated that he shares their one-bedroom Parisian apartment with his mother. In the years that followed, Franz Liszt lost interest in music to such a degree that he began to question his profession. He turned away from performing and started to read profusely, delving into books on the subjects of art and religion. What he read during that time would greatly influence his later musical works.
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.
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.

Tracklist:
1 – Liszt – Grand Paganini Etude No. 1 – Gm
2- Liszt – Grand Paganini Etude No. 6 – Am
3- Liszt – Transcendental Etudes, S. 139 – 11. Harmonies du Soir
4- Liszt – Grand duo concertant sur le ‘Le marin’, S.128

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Liszt – Wagner – Tristan and Isolde – Liebestod, S 447 – Music | History

Tristan und Isolde (Tristan and Isolde), WWV 90, is an opera in three acts by Richard Wagner to a German libretto by the composer, based largely on the 12th-century romance Tristan by Gottfried von Strassburg. It was composed between 1857 and 1859 and premiered at the Königliches Hof- und Nationaltheater in Munich on 10 June 1865 with Hans von Bülow conducting. Wagner referred to the work not as an opera, but called it “eine Handlung” (literally a drama, a plot or an action), which was the equivalent of the term used by the Spanish playwright Calderón for his dramas.
Wagner’s composition of Tristan und Isolde was inspired by the philosophy of Arthur Schopenhauer (particularly The World as Will and Representation), as well as by Wagner’s affair with Mathilde Wesendonck. Widely acknowledged as one of the peaks of the operatic repertoire, Tristan was notable for Wagner’s unprecedented use of chromaticism, tonal ambiguity, orchestral colour and harmonic suspension.
The opera was enormously influential among Western classical composers and provided direct inspiration to composers such as Gustav Mahler, Richard Strauss, Karol Szymanowski, Alban Berg, Arnold Schoenberg and Benjamin Britten. Other composers like Claude Debussy, Maurice Ravel and Igor Stravinsky formulated their styles in contrast to Wagner’s musical legacy. Many see Tristan as the beginning of the move away from common practice harmony and tonality and consider that it lays the groundwork for the direction of classical music in the 20th century.[1] Both Wagner’s libretto style and music were also profoundly influential on the symbolist poets of the late 19th century and early 20th century.

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Liszt – Ave Maria I, S. 20 – 2nd version – Music | History

“Ellens dritter Gesang” (“Ellens Gesang III”, D. 839, Op. 52, No. 6, 1825), in English: “Ellen’s Third Song”, was composed by Franz Schubert in 1825 as part of his Op. 52, a setting of seven songs from Walter Scott’s popular epic poem The Lady of the Lake, loosely translated into German.

It is one of Schubert’s most popular works. Beyond the song as originally composed by Schubert, it is often performed and recorded by many singers under the title “Ave Maria” (the Latin name of the prayer Hail Mary, and also the opening words and refrain of Ellen’s song, a song which is itself a prayer to the Virgin Mary), in musically simplified arrangements and with various lyrics that commonly differ from the original context of the poem. It was arranged in three versions for piano by Franz Liszt.

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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.

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