Franz Liszt

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Liszt Ferenc (en ongrés), mai conegut coma Franz Liszt (nascut lo 22 d'octobre de 1811 – mòrt lo 31 de julhet de 1886) èra un pianista virtuós ongrés e composeire pendent lo periòde romantic. Èra un jogaire famós dins tota Euròpa pendent lo sègle XIX, conegut mai que mai per sas performàncias musicalas e sa granda dexteritat sul clavièr. Uèi, se considera en general que foguèt un dels pianistas màgers de l'istòria, malgrat lo fach qu'existiscan pas cap d'enregistraments de sas interpretacions. Indeed, Liszt is frequently credited with re-defining piano playing itself, e son influéncia se pòt veire encara uèi. Contribuiguèt tanben bèlament al Romantisme en general, e se li atribuís l'invencion del poèma sinfonic.

Liszt estudièt e joguèt a Viena e a París e pendent la primièra part de sa vida adulta virèt per tota Euròpa en i far de concerts. Se considera qu'es lo paire de l'invencion del recital de piano modèrn, que sa virtuositat li faguèt ganhar l'aprovacion dels composeires e dels musicians a l'encòp. Sa granda generositat per çò qu'es del temps e de l'argent benefited per fòrça personas: las victimas de desastres, los orfanèls e los nombroses estudiants als que ensenhava la musca gratuïtament. Contribuiguèt a mai also al fons memorial Beethoven.

Un bèl nombre de sas composicions de piano son estadas inscrichas dins lo repertòri estandard, coma per exemple las Hugarian Rhapsodies, sas Annees de Pelerinage, sa Piano Sonata in B minor, e dos piano concertos. Compausèt a mai de nombrosas transcripcions per piano d'opèras, de sinfonias famosas, dels Capricis de Paganini (que son de las òbras mai dificilas del repertòri del violon), e Schubert Lieder. Mantas de sas composicions per piano son demest las mai technically challenging de son repertòri. Liszt èra himself un compausaire de musica lieder e corala, de poèmas sinfonics e d'autras òbras orquestralas. Sas composicions per organ are lauded and well-established in the organ repertoire.

Somari 1 Biografia 1.1 Las annadas de pelegrinatge 1.2 Liszt e Weimar 1.3 In retirement 2 Estil musical e influéncia 2.1 La virtuositat de Liszt e sas reformas tecnicas 2.2 Recital de piano 3 Òbras 4 Òbras literàrias 5 Ligams extèrns 5.1 Enregistraments

[Modificar] Biografia

Liszt nasquèt dins lo vilatge de Doborján, a ras de Sopron, en Ongria, (ara Raiding, en Austria). Son certificat de bateg, escrich en Latin, dona son first name coma Franciscus. Empleguèt de longa a l'escrich la forma alemanda Franz, e pas jamai la version ongresa Ferenc.

Franz èra un enfant flac e malautís, e foguèt environat dempuèi qu'èra un nenon per la musica. Son paire, que trabalhava a la cort del Comte Esterházy, èra tanben pianista e violoncellista (soliá jogar dins l'orquestra d'estiu d'Esterházy a Eisenstadt); organizèt de seradas de musica de cambra amb de musicians non professionals dels vilatges vesins, que sos vièlhs amics d'Eisenstadt i participavan ocasionalament.

Son paire li donèt sas primièras leiçons de musica quand teniá pas que sièis ans. Ferenc demostrèt lèu lèu un talent impressionant, en legir aisidament las particions mai dificilas que podiá trobar, e d'unes còps en legir portadas a l'encòp. L'aristocracia locala remarquèt son talent e li permetèt de viatjar a Viena e mai tard a París amb sa familha.

A Viena son professor foguèt Carl Czerny, un discipol de Beethoven, que deviá èsser lo sol professor de piano professional que Liszt aguèt. Son paire l'aviá menat d'en primièr a Johann Nepomuk Hummel per que l'ensenhèsse, mas lo prètz de las leiçons de Hummel èra tròp important. Antonio Salieri li aprenguèt la tecnica de la composicion e formèt lo gost musical del jove Liszt.

Se faguèt rapidament amic de Frédéric Chopin; pr'aquò totes dos venguèron rivals per encausa d'una competicion ferotja. Demorèt amic sa vida tota de Camille Saint-Saëns e aqueste darrièr consacrèt sa Sinfonia #3 en la Minor a Liszt.

A mai se Liszt se considerèt de longa orgulhós s'èsser ongrés, Liszt aprenguèt pas jamai a parlar del tot ongrés; sas darrièras letras e sos jornals mòstran que o regretava prigondament. Una de sas letras a sa maire comença amb un ongrés trantalhadís, e aprèp s'èsser desencusat contunha en francés (sa lenga preferida).

Lo 13 d'abril de 1823, Liszt donèt un concèrt. Un raconte d'aqueste episòdi se pòt legir dins l'article separat "Liszt and Beethoven".

[Modificar] Las annadas de pelegrinatge

Liszt laissèt Viena en 1823 per partir de viatge. A París, estudièt la composicion amb Ferdinando Paer e Anton Reicha. Lo 22 d'avril de 1832, assistiguèt al concèrt del violonista virtuoso Paganini and became motivated de venir lo pianista mai greatest de son temps. Sovent s'embarrava dins sa cambra, e se ditz que d'unes l'ausiguèron practicar son art pendent mai de 10 oras cada jorn. En 1832 escriguèt la Grande Fantaisie de Bravoure sur La Clochette de Paganini ("Grand Bravura Fantasy on Paganini's La Campanella"). Una pèça mai corta que teniá lo meteis contengut tematic foguèt inclusa dins los Etudes d'Execution Transcendante d'apres Paganini (Studies of Transcendental Execution inspired per Paganini) de 1838. Compausèt tanben pendent aqueste periòde los 12 Grandes Etudes (Liszt las reescriguèt mai tard e las sonèt los 12 Transcendental Etudes en 1851).

S'èra amistançat amb los composidors mai importants de son epòca coma Frédéric Chopin, Hector Berlioz, Robert Schumann, e Richard Wagner, aqueste darrièr se maridèt mai tard amb la filha de Liszt Cosima. Èra a mai plan erudit en filosofia, art e literatura e frequentava a mai lo pintor Ingres e los autors Heine, Lamennais, Hans Christian Andersen, e Baudelaire, que dediquèt son poèma en pròsa "Le thyrse" a Liszt.

En 1840-1841 Liszt participèt a doas viradas of the British Isles arranged pel jove musician e conductor Lewis Henry Lavenu, en companhiá del frairastre de Lavenu Frank Mori, doas cantairas e John Orlando Parry, an all round musician, cantaire e entertainer (who vividly recorded the tour dins son jornal personal). Entre lo 17 d'agost e lo 20 de setembre, passsegèron 50 concèrts dins Anglatèrra tota qu'en general foguèron pas una capitada, amb un public mejan flac de 140 personas. The second tour which encompassed Liverpool, Irlanda e Escòcia a partir de novembre de 1840 fins a genièr de 1841 foguèt un brin mai successful, amb de publics de mai de 1.200 personas dins Dublin. Pasmens la virada representèt un fracàs financièr, e Liszt waived his promised fee de 500 guinèas per mes.

Aprèp 1842, quand la "Lisztomania" s'espandiguèt dins tot lo continent europèu, los recitals de Liszt were in an overwhelming demand. Sos admirers praised e courted him, e las femnas fought over sos mocadors e sos gants de seda verda coma souvenirs, which they often ripped to pieces in their struggle. Some de contemporanèus de Liszt saw this kind of worship as vulgar and inappropriate, and eventually came to despise Liszt because of it.

Pendent las annadas in which he appeared regularly en public, he was almost universally acknowledged (even by musical conservatives who disliked his compositions) as the foremost piano performer. His main rival in public esteem as a virtuoso was Sigismond Thalberg, who especializat dins de salon music, especialament operatic fantasies. Thalberg's reputacion has faded, and in current opinion, only Chopin es comparably significant among romantic pianistas.

[Modificar] Liszt e Weimar

En 1847, Liszt gave up public performàncias on the piano e dins l'annada seguenta finally took up l'invitacion de Maria Pavlovna of Russia to settle at Weimar, where he had been appointed Kapellmeister Extraordinaire en 1842, remaining there fins a 1861. During this period he acted as conductor at court concerts and on special occasions at the theatre, gave lessons to a number de pianistas, including lo grand virtuoso Hans von Bülow, who married filha de Liszt Cosima en 1857 (abans que se marridèsse amb Wagner). He also wrote articles championing Berlioz e Wagner, and produced those orquestral e choral pieces upon which his reputation as a composer mainly rests. His efforts on behalf de Wagner, who was then an exile in Switzerland, culminated dins la primièra performància of Lohengrin en 1850.

Las composicions belonging al periòde de sa residéncia at Weimar comprise dos piano concertos, in E flat e in A, the Totentanz, the Concerto pathetique for two pianos, the Piano Sonata in B minor, sundry Etudes, fifteen Rhapsodies Hongroises, twelve orchestral Poemes symphoniques, Eine Faust Symphonie, and Eine Symphonie zu Dantes Divina Commedia, the 13th Psalm for tenor solo, chorus and orchestra, the choruses to Herder's dramatic scenes Prometheus, and the Graner Fest Messe. Much of Liszt's organ music comes from this period, including the Prelude and Fugue on B-A-C-H (later arranged for solo piano).

Also en 1847 Liszt met Princess Carolyne zu Sayn-Wittgenstein. La Princess was an author, whose major work was published in 16 volumes, each containing over 1.600 paginas. Her longwinded writing style had some effect on Liszt himself. Sa biografia de Chopin e sa cronologia e analisi de la musica Gypsy (which later inspired Béla Bartók) were both written in the Princess's loquacious style. The couple had intended de se maridar en 1860, but since the Princess had been previously married e son marit èra encara en vida, the Roman Catholic authorities would not approve the wedding, eventually intervening in dramatic fashion only moments before the couple were to take their vows. Although Liszt and Princess Carolyne remained friends, the stress of trying to persuade the Church authorities to let them marry, only to have their efforts eventually be in vain, proved an emotional blow from which neither completely recovered.

En 1851 publiquèt una version revisitada de sos 1838 Twelve Studies titolada ara Etudes d'Execution Transcendante, e mai tard aquela meteissa annada the Grandes Etudes de Paganini (Grand etudes after Paganini), the most famous of which is La Campanella (The Bell), a study in octaves, trills and leaps.

[Modificar] In retirement

Liszt moved a Roma en 1861, en anticipar son maridatge a la Princess Sayn-Wittgenstein. En 1865, he received the tonsure and four Minor Orders of the Catholic Church (namely, Porter, Lector, Exorcist and Acolyte). From 1869 onwards, Abbé Liszt divided his time between Rome, Weimar and Budapest where during the summer months he continued to receive pupils gratis, including Alexander Siloti. During this time, his relationship with Wagner grew more strained. His daughter Cosima (see previous section) left Bülow for Wagner in 1869. Devout Catholic that he was, he was deeply hurt by his daughter's conversion to Protestantism upon her marriage to Wagner, and for a number of years, Liszt did not correspond with either, even while championing the music of his new son-in-law. Eventually, they were reconciled and Liszt subsequently attended the Bayreuth Festival.

De 1876 fins a sa mòrt he also taught for several months every year al Hungarian Conservatoire at Budapest. Se moriguèt a Bayreuth lo 31 de julhet de 1886 as a result de pneumonia which he contracted during the Bayreuth Festival hosted by sa filha Cosima. At first, he was surrounded by some of his more adoring pupils, including Arthur Friedheim, Siloti and Bernhard Stavenhagen, but they were denied access to his room by Cosima shortly before his death at 11:30pm. He is buried in the Bayreuth Friedhof.

[Modificar] Estil musical e influéncia

La majority de las ccomposicions de piano de Liszt reflect his advanced virtuositat; however he was a prolific composer, e wrote works at several levels of dificultat, some being accessible to intermediate- (and even beginner-) level pianists. Abschied (Farewell) e Nuages Gris are exemples of this estil mens virtuosic, as are at least some of the six Consolations.

In his most popular and advanced works, he is the archetypal Romantic composer. Liszt pioneered the technique of thematic transformation, a method of development which was related to both the existing variation technique and to the new use of the leitmotif by Richard Wagner. He also largely invented the symphonic poem, or tone poem, in a series of single-movement orchestral works composed in the 1840s and 1850s. His poems all came from classical literature, including "Ce qu'on entend sur la montagne," based on a Victor Hugo poem of the same title, and "Les preludes" from Lamartine. Liszt's "First Mephisto Waltz" was based on Lenau's Faust, and he composed a second waltz from the poem in 1881.

Other pieces are based on works by Lord Byron, Goethe and Dante. Liszt's symphonic poems, although successes, were criticised because they were not Absolute music. His transcriptions met with less criticism. As a transcriber of even the most unlikely and complicated orchestral works, he created piano arrangements which stood on their own merits; many other pianist-composers followed his example.

While his Hungarian Rhapsodies are widely recognized, his understanding of form, expression and use of virtuosity for musical effect are more apparent elsewhere.

Later works of the composer such as Bagatelle sans tonalité ("Bagatelle without Tonality") foreshadow composers who would further explore the modern concept of atonality. His thoroughly revised masterwork, Années de Pèlerinage ("Years of Pilgrimage"), arguably includes his most provocative and stirring pieces. This set of three suites ranges from the pure virtuosity of the Suisse Orage (Storm) to the subtle and imaginative visualizations of artworks by Michaelangelo and Raphael in the second set. Années contains some pieces which are loose transcriptions of Liszt's own earlier compositions; the first "year" recreates his early pieces of Album d'un voyageur, while the second book includes a resetting of his own song transcriptions once separately published as Tre sonetti del Petrarca ("Three sonnets of Petrarch"). The relative obscurity of the vast majority of his works may be explained by the immense number of pieces he composed.

To Franz Liszt's honor, he helped found the Liszt School of Music Weimar [1], which bears his name. Besides the Liszt Ferenc Academy of Music in Budapest, a music school and a concert hall is also named after him.

His piano works have always been well represented in concert programs and recordings by pianists throughout the world. Many of his works have been recorded a multitude of times. However the only pianist who has recorded his entire pianistic oeuvre is the Australian Leslie Howard. This massive undertaking included a number of premiere recordings.

[Modificar] La virtuositat de Liszt e sas reformas tecnicas

Las interpretacions de Liszt èran descrichas coma teatralas e vesedoiras, e totes aqueles que lo vegèron him perform were stunned de son domeni sens rival del clavièr. Perhaps the best indication of Liszt's piano-playing abilities comes from his Transcendental and Paganini Studies, written in 1838-39, and described by Schumann as "playable at the most, by ten or twelve players in the world". To play these pieces, un pianist must connect with the piano as an extension of his own body (Walker, 1987).

Liszt disiá aver passat dètz o dotze oras per jorn practicing scales, arpègis, trills e repeated notes pr'amor de melhorar sa tecnica e son endurància. Totas aquelas tecnicas de piano èra frequentament aplicadas dins sas composicions, often resulting una musica de dificultat tecnica extrèma (son Estudi Transcendental No.5 "Feux follets" n'es un example). He would challenge himself and his immaculate fingering by presenting random problems to his playing.

Pendant las annadas 1830 e 1840 — las annadas de l'"execucion transcendentala" de Liszt — revolucionèt la tecnica de piano dins gaireben totes los aspèctes. De personatges illustres coma Anton Rubinstein, Ignacy Jan Paderewski e Sergei Rachmaninoff descobriguèron a travèrs la musica de Liszt las leis que govèrnan los clavièrs.

A mai son estil foguèsse revolucionari e plan espectacular, las interpretacions de Liszt èran pas sonque beluguejairas e acrobaticas. Se ditz tanben que jogava amb una prigondor e noblesa de sentiments que fasián tombar de lagremas a d'òmes .

[Modificar] Recital de piano

La paraula "recital" foguèt emplegada d'en primièr per Liszt pendent son concert a Londres lo 9 de junh de 1840, a mai s'aqueste mot li foguèsse estat suggerit per l'editor Frederick Beale..

Los recitals de Liszt traversèron Euròpa tota, dempuèi l'Oral fins a Irlanda. Sovent jogava davant d'audiéncias importantas que podiá aténher tres mila personas. Foguèt lo primièr solista de piano que joguèsse de programas complets per còr, e tanben lo primièr a jogar amb lo piano en angles dreches sus la scena, amb la cobèrta dobèrta, per mandar lo son dins l'auditòri.

[Modificar] Òbras

• (1822) Variation on a Theme by Diabelli (S/G147, R26)
• (1826) Etude in Twelve Exercises, including No. 10 in F Minor
• (1832) Grande Fantasie de Bravoure sur La Clochette, variations (S/G420, R321)
• (1833) Arrangement of "March to the Scaffold" from Berlioz, Symphonie Fantastique (S/G470, R136)
• (1833) Divertissement on the Cavatina "I tuoi frequenti palpiti" from Pacini's La Niobe (S/G419, R230)
• (1841) Feuilles d'album ('Album Leaves'), (S/G165)
• (1841) Réminiscences de Don Juan, (S/G418)
• (1845-48) Ballade No. 1 in D flat : Ballade No. 1 in Des-dur
• (1848) Three Concert Etudes (French: Trois Études de Concert); No. 3, Un Sospiro ("A sigh"), Etude No. 39 (piano solo) (S/G144, R5)
• (1848-53) Années de Pèlerinage: Première Année — Suisse; Deuxième Année — Italie - Venezia e Napoli; Troisième Année
• (1848-61) Twelve Symphonic Poems
  • Ce qu'on entend sur la montagne (also known as Berg-Symphonie), (1848-9) (after Victor Hugo)
  • Tasso: lamento e trionfo, (1849) (after Byron)
  • Les préludes, after Lamartine (1848, rev. before 1854)
  • Orpheus, (1853-4)
  • Prometheus, (1850)
  • Mazeppa, (1851)
  • Festklänge, (1853)
  • Héroïde funèbre, (1849-50)
  • Hungaria, (1854)
  • Hamlet, (1858)
  • Hunnenschlacht, (1857)
  • Die Ideale (1857), after Schiller
• (1849) Piano Concerto no. 1 in E-flat Major (S/G124)
• (1849) Piano Concerto no. 2 in A Major (S/G125) (revised 1861)
• (1849) Harmonies Poétiques et Religieuses, (S/G173) a collection of solo piano pieces, including the often-performed No. 7, Funérailles
• (1849) Totentanz ('Dance of death') (S/G126ii), for piano and orchestra. (revised 1853-1859)
• (1850) Liebesträume No. 3 ("Dreams of Love") in A-flat Major (piano solo) (S/G541, R211)
• (1851) Grandes Etudes de Paganini, including No. 3, "La Campanella"; and No. 5, "La Chasse" (Composed 1838, revised 1851)
• (1851) Transcendental Etudes (Prelude, Molto Vivace, Paysage, Mazeppa, Feux Follets, Vision, Eroica, Wilde Jagd, Ricordanza, Allegro Agitato Molto, Harmonies du soir, and Chasse-niege. Known well for being technically difficult, notedly Mazeppa and Feux Follets) (S/G139, R2B), Composed 1837 (based on the 1826 studies), revised 1851)
• (1851) Nineteen Hungarian Rhapsodies (S/G244, R106) - Rhapsody No. 2 became famous in the modern day as a popular piece for accompaniment of animated cartoons, during the golden age of animation; Rhapsody No. 19 in D Minor (1885) is also of note.
• (1851) Polonaise No. 1 in C minor
• (1852) Valse-Impromptu, (S/G213)
• (1853) Piano Sonata in B minor (S/G178, R21)
• (1853) Ballade No. 2 in B minor:Ballade No. 2 in H-Moll
• (1854) Faust Symphony
• (1855) Prelude and Fugue on B-A-C-H for organ, rev. 1870
• (1857) Dante Symphony
• (1860) Mephisto Waltz No. 1 (piano solo) (S/G514, R181)
• (1866) Christus (S/G3)
• (1877) Dem Andenken Petőfis
• (1881) Nuages Gris ('Grey clouds') (S/G199, R78)
• (1885) Bagatelle sans tonalité (S216a)

[Modificar] Òbras literàrias

Escriguèt sus mantun subjècte, coma: una necrologia de Paganini; la situacion de la musica en Itàlia; Robert Schumann e Clara Schumann; Frédéric Chopin; Robert Franz; "Fidelio" de Ludwig van Beethoven ; "A Midsummer Night's Dream"de Felix Mendelssohn ; la fondacion Johann Wolfgang von Goethe a Weimar; Lohengrin e Tannhäuser de Richard Wagner; la musica dels gitans ongreses; las nocturnas de John Field e mai. Sas letras e sos ensages musicals son estats publicats en 6 volums.

[Modificar] Ligams extèrns

• The Franz Liszt Site with timeline
• Piano Society - Liszt - A short biography and various free recordings in MP3 format.
• The Love Affairs of Great Musicians, Volume 2 by Rupert Hughes, full-text from Project Gutenberg
• Franz Liszt Project - A comprehensive Liszt site with searchable databases.
• Modèl:Musicbrainz artist
• Letters of Franz Liszt
• Concert programme for September 16, 1840 at The Centre for Performance History
• Liszt cylinder recordings, from the Cylinder Preservation and Digitization Project at the University of California, Santa Barbara Library.
• International Franz Liszt Piano Competition - official page
• Catalogue of the Complete Liszt Recording by Leslie Howard

[Modificar] Enregistraments

• catalòg MP parcial de Liszt - Free Liszt Recordings from the Scandinavian Liszt Society
• Kunst der Fuge: Franz Liszt - (Live) MIDI files
• Liszt at Magnatune MP3 Creative Commons recordings