- published: 24 Oct 2008
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- author: TheWickedNorth
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![Liszt - Mephisto Waltz No. 1, S. 514 [André Laplante]](http://web.archive.org./web/20130124054140im_/http://i.ytimg.com/vi/KJbg9V2KnD8/default.jpg "Der Tanz in der Dorfschenke, S514, R181,")
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Albano Laziale
Albano Laziale (IPA: [alˈbaːno latˈtsjaːle], Albanum in Latin, Arbanassi in Roman dialect) is a comune in the province of Rome, on the Alban Hills, in Latium, central Italy. It is also a suburb of Rome, which is 25 km distant. It is bounded by other communes of Castel Gandolfo, Rocca di Papa, Ariccia and Ardea. Located in the Castelli Romani area of Lazio. It is sometimes known simply as Albano.
Albano is one of the most important municipalities of the Castelli Romani, and a busy commercial center. It was also a suburbicarian bishopric since the 5th century, a historic principality of the Savelli family, and from 1699 to 1798 the inalienable possession of the Holy See. It now houses, among other things, the Praetor of the district court of Velletri. The territory of Albano is partially included in the Parco Regionale dei Castelli Romani.
The territory of Albano Laziale is 23.80 km 2 and one of the largest of Colli Albani; sixth after Velletri (112.21 km 2), Lanuvio (43.91 2), Rocca di Papa (40.18 2) Rocca Priora ( 28.07 km 2) and Marino (26.10 2). According to the classification given by the Geological Survey of Italy most of the territory is similar to other areas of the Colli Albani, from lands classified as v 2.
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Austrian Empire
The Austrian Empire (German: Kaiserthum Oesterreich, modern spelling Kaisertum Österreich) was a modern era successor empire, which was centered on what is today's Austria and which officially lasted from 1804 to 1867. It was followed by the Empire of Austria-Hungary, whose proclamation was a diplomatic move that elevated Hungary's status within the Austrian Empire as a result of the Austro-Hungarian Compromise of 1867. The Austro-Hungarian Empire (1867 to 1918) was itself dissolved by the victors at the end of World War I and broken into separate new states.
The term "Austrian Empire" is also used for the Habsburg possessions before 1804, which had no official collective name, although Austria is more frequent; the term of Austria-Hungary has also been used.[citation needed]
The Austrian Empire was founded by the Habsburg monarch Holy Roman Emperor Francis II (who became Emperor Francis I of Austria), as a state comprising his personal lands within and outside of the Holy Roman Empire of the German Nation.
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Bayreuth Festival
The Bayreuth Festival (German: Bayreuther Festspiele) is a music festival held annually in Bayreuth, Germany, at which performances of operas by the 19th century German composer Richard Wagner are presented. Wagner himself conceived of and promoted the idea of a special festival to showcase his own works, in particular his monumental cycle Der Ring des Nibelungen and Parsifal.
Performances take place in a specially designed theatre, the Bayreuth Festspielhaus. Wagner personally supervised the design and construction of the theatre, which contained many architectural innovations to accommodate the huge orchestras for which Wagner wrote as well as the composer's particular vision about the staging of his works. The Festival has become a pilgrimage destination for Wagner enthusiasts, who often must wait years to obtain tickets.
The origins of the Festival itself lie rooted in Richard Wagner's interest in establishing his financial independence. A souring of the relationship with his patron, Ludwig II of Bavaria, led to his expulsion from Munich, where he had originally intended to launch the festival. Wagner next considered Nuremberg, which would have reinforced the thematic significance of works such as Die Meistersinger. On the advice of Hans Richter, however, the focus fell upon Bayreuth which enjoyed three distinct advantages.
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Budapest
Budapest (
/ˈbuːdəpɛst/, /ˈbuːdəpɛʃt/ or /ˈbʊdəpɛst/; Hungarian pronunciation: [ˈbudɒpɛʃt] (
listen); names in other languages) is the capital and the largest city of Hungary, the largest in East-Central Europe and the seventh largest in the European Union. It is the country's principal political, cultural, commercial, industrial, and transportation centre, sometimes described as the primate city of Hungary. According to 2011 Census, Budapest had 1.74 million inhabitants, down from its 1989 peak of 2.1 million due to suburbanization. The Budapest Commuter Area is home to 3.3 million people. The city covers an area of 525 square kilometres (202.7 sq mi) within the city limits. Budapest became a single city occupying both banks of the river Danube with a unification on 17 November 1873 of west-bank Buda and Óbuda with east-bank Pest.
The history of Budapest began with Aquincum, originally a Celtic settlement that became the Roman capital of Lower Pannonia.Hungarians arrived in the territory in the 9th century. Their first settlement was pillaged by the Mongols in 1241-42. The re-established town became one of the centres of Renaissance humanist culture in the 15th century. Following the Battle of Mohács and nearly 150 years of Ottoman rule, development of the region entered a new age of prosperity in the 18th and 19th centuries, and Budapest became a global city after the 1873 unification. It also became the second capital of Austria-Hungary, a great power that dissolved in 1918. After the Treaty of Trianon in 1920, when Hungary lost 72% of its former territory, culturally and economically the country became wholly Budapest-dominated. The capital dominates the country both by the size of its population—which dwarfs those of Hungary's other cities Budapest was the focal point of the Hungarian Revolution of 1848, the Hungarian Soviet Republic of 1919, Operation Panzerfaust in 1944, the Battle of Budapest of 1945, and the Revolution of 1956.
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Burgenland
Burgenland (help·info) is the easternmost and least populous state or Land of Austria. It consists of two Statutarstädte (towns with a charter) and seven districts with in total 171 municipalities. It is 166 km long from north to south but much narrower from west to east (5 km wide at Sieggraben). The region is a part of the Centrope Project.
Burgenland is the 7th largest of Austria's 9 states, or Bundesländer, at 3,962 km². The highest point in the province is Geschriebenstein, at 884 metres, the lowest point is 114 metres, near Apetlon.
Burgenland borders the Austrian provinces of Niederösterreich and Steiermark to the west, to the northeast it borders Slovakia, Hungary to the east and Slovenia to the farthest south.
Burgenland and Hungary share the Neusiedler See, known for its reeds and shallowness, as well as the mild climate throughout the year. The Neusiedler See is Austria's largest lake serving as a large tourist attraction bringing ornithologists, sailors, and wind and kite surfers into the region north of the lake.
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Como
Como listen (help·info) (Lombard: Còmm; Latin: Comum) is a city and comune in Lombardy, Italy. It is the administrative capital of the Province of Como.
Its proximity to Lake Como and to the Alps has made Como a popular tourist destination and the city contains numerous works of art, churches, gardens, museums, theatres, parks and palaces: the Duomo (seat of Diocese of Como), the Basilica of Sant'Abbondio, the Villa Olmo, the public gardens with the Tempio Voltiano, the Teatro Sociale, the Broletto (the city’s medieval town hall) and the 20th century Casa del Fascio.
Como was the birthplace of many historically notable figures, including the (somewhat obscure) poet Caecilius who is mentioned by Catullus in the 1st century BCE, the far more substantial literary figures of Pliny the Elder and the Younger, Pope Innocent XI, the scientist Alessandro Volta, and Cosima Liszt, second wife of Richard Wagner and long-term director of the Bayreuth Festival.
The hills surrounding the current location of Como have been inhabited, since at least the Bronze Age, by a Celtic tribe known as the Orobii. Remains of settlements are still present on the wood covered hills to the South West of town.
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Hamburg
Hamburg ( /ˈhæmbɜrɡ/; German pronunciation: [ˈhambʊɐ̯k], local pronunciation [ˈhambʊɪç]; Low German/Low Saxon: Hamborg [ˈhaˑmbɔːx]), officially Free and Hanseatic City of Hamburg, is the second-largest city in Germany, the thirteenth largest German state, and the sixth-largest city in the European Union. The city is home to over 1.8 million people, while the Hamburg Metropolitan Region (including parts of the neighbouring Federal States of Lower Saxony and Schleswig-Holstein) has more than 4.3 million inhabitants. Situated on the river Elbe, the port of Hamburg is the second largest port in Europe (after the Port of Rotterdam) and 11th-largest worldwide.
Hamburg's official name, Free and Hanseatic City of Hamburg (German: Freie und Hansestadt Hamburg), reflects Hamburg's history as a member of the medieval Hanseatic League, as a free imperial city of the Holy Roman Empire, and that Hamburg is a city-state and one of the sixteen States of Germany.
Hamburg is a major transport hub in Northern Germany and is one of the most affluent cities in Europe. It has become a media and industrial centre, with plants and facilities belonging to Airbus, Blohm + Voss and Aurubis. The radio and television broadcaster Norddeutscher Rundfunk and publishers such as Gruner + Jahr and Spiegel-Verlag are pillars of the important media industry in Hamburg. In total, there are more than 120,000 enterprises.
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Hanover Square Rooms
The Hanover Square Rooms or the Queen's Concert Rooms were assembly rooms established, principally for musical performances, on the corner of Hanover Square, London, by Sir John Gallini in partnership with Johann Christian Bach and Carl Friedrich Abel in 1774. For exactly one century this was the principal concert venue in London. The premises were demolished in 1900.
The site had previously been occupied by a mill, hence its previous name Mill Field and that of the currently adjoining Mill Street. Originally the property of Earl of Plymouth, leased out to Lord Dillon, in June 1774 it was sold for £5,000 to Viscount Wenman, who on the same day conveyed it to Gallini, Bach and Abel. Gallini owned half the freehold and each of the other two a quarter. On the site formerly occupied by a garden and office, they constructed, as extensions to the house, assembly rooms for concerts and public meetings. The main room on the first floor measured 79 feet (24 m) by 32 feet (9.8 m), with a height of between 22 and 28 feet (8.5 m): its vaulted ceilings had paintings by the decorative painter Giovanni Battista Cipriani; and Thomas Gainsborough, a friend of Bach and Abel, was commissioned to produce the transparent paintings on glass for the Rooms. In addition there was a small room off the North side of the main room and a larger room on the ground floor beneath it.
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Hungary
Hungary
i/ˈhʌŋɡəri/ (Hungarian: Magyarország [ˈmɒɟɒrorsaːɡ] ( listen)) is a country, which is located in Central Europe. It is situated in the Carpathian Basin and is bordered by Slovakia to the north, Ukraine and Romania to the east, Serbia and Croatia to the south, Slovenia to the southwest and Austria to the west. The country's capital, and largest city, is Budapest. Hungary is a member of the European Union, NATO, the OECD, the Visegrád Group, and is a Schengen state. The official language is Hungarian, also known as Magyar, which is part of the Finno-Ugric group and is the most widely spoken non-Indo-European language in Europe.
Following a Celt (after c. 450 BC) and a Roman (AD 9 - c. 430) period, the foundation of Hungary was laid in the late 9th century by the Hungarian prince Árpád, whose great-grandson Saint Stephen I was crowned with a crown sent by the pope from Rome in 1000 AD. The Kingdom of Hungary lasted for 946 years, and at various points was regarded as one of the cultural centres of the Western world. After about 150 years of partial Ottoman occupation (1541–1699), Hungary was integrated into the Habsburg Monarchy, and later constituted half of the Austro-Hungarian dual monarchy (1867–1918).
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Kalocsa
Kalocsa (Hungarian pronunciation: [ˈkɒloʧɒ]; Croatian: Kaloča or Kalača, Serbian: Kaloča or Калоча, German Kollotschau) is a town in Bács-Kiskun county, Hungary. It lies 88 miles south of Budapest. It is situated in a marshy but highly productive district, near the left bank of the Danube River. Historically it had greater political and economic importance than at present.
Kalocsa is the Episcopal see of one of the four Catholic archbishops of Hungary. Amongst its buildings are a fine cathedral, the archiepiscopal palace, an astronomical observatory, a seminary for priests, and colleges for training teachers. The residents of Kalocsa and its wide-spreading communal lands are chiefly employed in the cultivation of the vine, fruit, flax, hemp and cereals, in the capture of waterfowl and in fishing.
Kalocsa is one of the oldest towns in Hungary. The present archbishopric, founded about 1135,[verification needed] is a development of a bishopric said to have been founded in 1000 by King Stephen the Saint. It suffered much during the 16th century from the invasions of Ottoman soldiers, who ravaged the country.
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Kiev
Kiev or Kyiv (Ukrainian: Київ [ˈkɪjiw] ( listen); Russian: Киев) is the capital and the largest city of Ukraine, located in the north central part of the country on the Dnieper River. The population as of the 2001 census was 2,611,300. However, higher numbers have been cited in the press.
Kiev is an important industrial, scientific, educational and cultural centre of Eastern Europe. It is home to many high-tech industries, higher education institutions and world-famous historical landmarks. The city has an extensive infrastructure and highly developed system of public transport, including the Kiev Metro.
The name Kiev is said to derive from the name of Kyi, one of four legendary founders of the city (brothers Kyi, Shchek, Khoryv, and sister Lybid). During its history, Kiev, one of the oldest cities in Eastern Europe, passed through several stages of great prominence and relative obscurity. The city probably existed as a commercial centre as early as the 5th century. A Slavic settlement on the great trade route between Scandinavia and Constantinople, Kiev was a tributary of the Khazars, until seized by the Varangians (Vikings) in the mid-9th century. Under Varangians rule, the city became a capital of the Rus', the first East Slavic state. Completely destroyed during the Mongol invasion in 1240, the city lost most of its influence for the centuries to come. It was a provincial capital of marginal importance in the outskirts of the territories controlled by its powerful neighbours; first the Grand Duchy of Lithuania, followed by Poland and Russia.
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Kingdom of Hungary
The Kingdom of Hungary was a country in Central Europe covering what is today Hungary, Slovakia, Transylvania (now part of Romania), Carpatho Ruthenia (now part of Ukraine), Vojvodina (now part of Serbia), Burgenland (now part of Austria), and other smaller territories surrounding present-day Hungary's borders. From 1102 it also included Croatia (except Istria), being in personal union with it, united under the Hungarian king. The kingdom existed for almost one thousand years (1000–1918 and 1920–1946) and at various points was regarded as one of the cultural centers of the Western world.
The Latin Regnum Hungariae/Vngarie (Regnum meaning kingdom); Regnum Marianum (Kingdom of St. Mary); or simply Hungaria was the form used in official Latin documents from the beginning of the kingdom to the 1840s. The German name (Königreich Ungarn) was used from 1849 to the 1860s, and the Hungarian name (Magyar Királyság) was used in the 1840s, and again from the 1860s to 1918. The names in other languages of the kingdom were: Polish: Królestwo Węgier, Romanian: Regatul Ungariei, Croatian: Kraljevina Ugarska, Slovene: Kraljevina Ogrska, Czech: Uherské království, Slovak: Uhorské kráľovstvo, Italian (for the city of Fiume), Regno d'Ungheria.
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Lower Austria
Lower Austria (German: Niederösterreich (help·info)) is the northeasternmost state of the nine states in Austria. The capital of Lower Austria since 1986 is Sankt Pölten, the most recently designated capital town in Austria. The capital of Lower Austria had formerly been Vienna, even though Vienna is not officially part of Lower Austria. With a land area of 19,186 km² and a population of 1.612 million people, it is the largest state in Austria, and in terms of population second only to the federal state of Vienna.
Situated east of Upper Austria, Lower Austria derives its name from its downriver location on the Danube River, which flows from west to east. Lower Austria has an international border, 414 km long, with the Czech Republic (South Moravia) and Slovakia. The state has the second longest external border of all Austrian states. It borders on other Austrian states of Upper Austria, Styria and Burgenland. The state surrounds Vienna.
Lower Austria is divided four regions, known as Viertel (quarters):
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Moson County
Moson (Hungarian, German: Wieselburg) was a historic administrative county (comitatus) of the Kingdom of Hungary in present-day eastern Austria and northwestern Hungary, on the right (south) side of the Danube river. Moson is also the name of a town, nowadays part of the city Mosonmagyaróvár, Hungary.
Moson county shared borders with the Austrian land Lower Austria and the Hungarian counties Pozsony (Bratislava), Győr and Sopron. The river Danube runs along the north of the county, and the lake Neusiedler See lies partly in the county. Its area was 2013 km² around 1910.
The capital of the county was the town of Moson initially. The capital was moved to nearby Magyaróvár in the Middle Ages. Moson and Magyaróvár merged in 1939 to form the city of Mosonmagyaróvár.
The Moson comitatus arose as one of the first comitati of the Kingdom of Hungary.
In 1918 (confirmed by the Treaty of Trianon 1920), a tiny part of Moson county close to Bratislava became part of newly formed Czechoslovakia. The eastern part stayed in Hungary and merged with Győr county and a very small part of Pozsony county to form Győr-Moson-Pozsony county. The western part became part of the new Austrian land Burgenland.
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Nonnenwerth
Nonnenwerth is an island near Bad Honnef in the Rhine, administratively part of Remagen in Rhineland-Palatinate.
The island is mainly known as the site of a Benedictine nunnery, later a Franciscan convent.
There was a Benedictine nunnery here from its foundation in 1126, by Archbishop Frederick I of Cologne and Abbot Kuno of Siegburg. In 1465 it joined the reform movement of the Bursfelde Congregation, but was severely damaged in 1477 during hostilities with Burgundy. It also suffered greatly from marauding Swedish troops in 1632, during the Thirty Years' War.
In 1773 it was destroyed by fire, and rebuilt in the Baroque style. In 1802 the nunnery was dissolved as part of the secularisation of ecclesiastical property. In 1821 the premises were sold by auction and used as an inn. This was visited by Franz Liszt, who composed the piece "Die Zelle in Nonnenwerth" about it.
In 1854 the buildings were acquired by the Franciscans for a convent. During World War I the sisters began to teach girls and a secondary school soon developed, still in operation.
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Rajka
Rajka (German: Ragendorf) is a village in Győr-Moson-Sopron county, Hungary.
The European motorway E65/E75, as well as national roads, cross into Slovakia near Rajka. The Slovak border crossings are known as Rusovce and Čunovo. Border controls ceased to be enforced when Hungary and Slovakia joined the Schengen Area on December 21, 2007.
Approximately 800 Slovaks lived in Rajka as of 2008.
City limit signage in Hungarian and German
Rajka border checkpoint, no longer operational.
Pre-Schengen passport exit stamp from Rajka border crossing.
An earlier passport stamp from the same border crossing.
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Saint Petersburg
Saint Petersburg (Russian: Санкт-Петербург, tr. Sankt-Peterburg; IPA: [sankt pʲɪtʲɪrˈburk] (
listen)) is a city and a federal subject (a federal city) of Russia located on the Neva River at the head of the Gulf of Finland on the Baltic Sea. In 1914 the name of the city was changed to Petrograd (Russian: Петроград; IPA: [pʲɪtrɐˈgrat]), in 1924 to Leningrad (Russian: Ленинград; IPA: [lʲɪnʲɪnˈgrat]) and in 1991 back to Saint Petersburg.
In Russian literature, informal documents, and discourse, the "Saint" (Санкт-) is usually omitted, leaving Petersburg (Петербург, Peterburg). In common parlance Russians may drop "-burg" (-бург) as well, leaving only Peter (Питер, Russian: [ˈpʲitʲɪr]).
Saint Petersburg was founded by Tsar Peter the Great on May 27 [O.S. 16] 1703. From 1713 to 1728 and from 1732 to 1918, Saint Petersburg was the Imperial capital of Russia. In 1918 the central government bodies moved from Saint Petersburg (then named Petrograd) to Moscow. It is Russia's second largest city after Moscow with almost 5 million inhabitants. Saint Petersburg is a major European cultural center, and also an important Russian port on the Baltic Sea.
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Slovakia
The Slovak Republic (short form: Slovakiai/sloʊˈvɑːkiə/ or /sləˈvækiə/; Slovak: Slovensko (help·info), long form Slovenská republika (help·info)) is a landlocked state in Central Europe. It has a population of over five million and an area of about 49,000 square kilometres (19,000 sq mi). Slovakia is bordered by the Czech Republic and Austria to the west, Poland to the north, Ukraine to the east and Hungary to the south. The largest city is the capital, Bratislava, and the second largest is Košice. Slovakia is a member state of the European Union, NATO, United Nations, OECD and WTO among others. The official language is Slovak, a member of the Slavic language family.
The Slavs arrived in the territory of present day Slovakia in the 5th and 6th centuries during the migration period. In the course of history, various parts of today's Slovakia belonged to Samo's Empire (the first known political unit of Slavs), Principality of Nitra (as independent polity, as part of Great Moravia and as part of Hungarian Kingdom), Great Moravia, Kingdom of Hungary, the Austro-Hungarian Empire or Habsburg Empire, and Czechoslovakia. A separate Slovak state briefly existed during World War II, during which Slovakia was a dependency of Nazi Germany between 1939 and 1944. From 1945 Slovakia once again became a part of Czechoslovakia. The present-day Slovakia became an independent state on 1 January 1993 after the peaceful dissolution of Czechoslovakia.
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Sopron
Sopron (Hungarian pronunciation: [ˈʃopron]; German: Ödenburg, Croatian: Šopron, Latin: Scarbantia) is a city in Hungary on the Austrian border, near the Lake Neusiedl/Lake Fertő.
When the area that is today Western Hungary was a province of the Roman Empire, a city called Scarbantia stood here. Its forum was located where the main square of Sopron can be found today.
During the Migration Period Scarbantia was believed to be deserted and by the time Hungarians arrived in the area, it was in ruins. In the 9th–11th centuries Hungarians strengthened the old Roman city walls and built a castle. The town received its Hungarian name at this time from a castle steward named Suprun. In 1153 it was mentioned as an important town.
In 1273 King Otakar II of Bohemia occupied the castle. Even though he took the children of Sopron's nobility with him as hostages, the city opened its gates when the armies of King Ladislaus IV of Hungary arrived. The king awarded Sopron by elevating it to the rank of free royal town.
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Sopron County
Sopron (-German: Ödenburg) is the name of a historic administrative county (comitatus) of the Kingdom of Hungary in present-day eastern Austria and northwestern Hungary. The capital of the county was Sopron.
Sopron county shared borders with the Austrian land Lower Austria and the Hungarian counties Moson, Győr, Veszprém and Vas. The lake Neusiedler See lies partly in the county. Its area was 3,241 km² around 1910.
The Sopron comitatus arose as one of the first comitatus of the Kingdom of Hungary.
In 1918 (confirmed by the Treaty of Trianon 1920), the western part of the county became part of the Austrian state of Burgenland, while the eastern part became a part of Hungary. In 1921, it was decided by referendum that the city of Sopron would join Hungary instead of Austria.
After World War II, Sopron county merged with Győr-Moson-Pozsony to form Győr-Sopron county. This county was renamed to Győr-Moson-Sopron county in the early 1990s. A small part of Sopron county went to Vas county.
In the early 20th century, the subdivisions of Sopron county were:
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Vienna
Vienna ( /viːˈɛnə/; German: Wien (help·info) [viːn]) is the capital and largest city of Austria and one of the nine states of Austria. Vienna is Austria's primary city, with a population of about 1.723 million (2.4 million within the metropolitan area, more than 25% of Austria's population), and is by far the largest city in Austria, as well as its cultural, economic, and political centre. It is the 9th-largest city by population in the European Union. Until the beginning of the 20th century it was the largest German speaking city in the world, and before the first world war and the splitting of the Austro-Hungarian empire the city had 2 million inhabitants. Vienna is host to many major international organizations, including the United Nations and OPEC. The city lies in the east of Austria and is close to the borders of the Czech Republic, Slovakia, and Hungary. These regions work together in a European Centrope border region. Along with nearby Bratislava, Vienna forms a metropolitan region with 3 million inhabitants. In 2001, the city centre was designated a UNESCO World Heritage Site.
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Adam Liszt
Ádám Liszt - (Adamus List) (December 16, 1776 – August 28, 1827) was a Hungarian musician and father of composer and pianist Franz Liszt.
He was born in Nemesvölgy, Kingdom of Hungary (now Edelstal, Austria) as the second child of György Liszt and Barbara Slezák. They lived in Marcz, (Burgenland, Kingdom of Hungary, today in Austria), Nagymarton (then called Mattersdorf, today in Austria) and also Malacka (now Malacky, Slovakia).
As a teenager, he played cello in the House of Eszterházy summer orchestra under the direction of Joseph Haydn. He was also an amateur pianist. After graduating the Catholic Gymnasium (high school) in Pressburg, Adam entered the Franciscan Order, but two years later, by his petition in 1797, was released from the order. Adam still kept close relationship to the order, which probably gave him the inspiration to name his son Franz.
An attempt by Adam to continue as a student of philosophy at the University of Pressburg ended due to financial reasons. He had to look for a job, and in 1798 became a clerk at the Esterhazy estate in Forchtenau (today's Forchtenstein). After two years, Adam was transferred to Kapuvár where he was missing the musical atmosphere at Kismarton (now Eisenstadt, Austria). He started to compose music and dedicate it to the Prince in order to be transferred back to the Western part of Sopron county. Only in 1805 did he finally succeed in getting a job at the court in Eisenstadt. The years in Eisenstadt were his happy years. In his spare time he played cello in the orchestra led by Johann Nepomuk Hummel, the successor of Haydn, and had the opportunity to work with many musicians who came to Eisenstadt to perform, including Cherubini and Beethoven. This happy time ended when in 1809 Adam was transferred to the Esterházy estate of Raiding as an overseer of the herd of about 50,000 sheep. Raiding, only 30 miles from Eisenstadt, was a rather provincial place.
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Adam Mickiewicz
Adam Bernard Mickiewicz [mit͡sˈkʲɛvit͡ʂ] ( listen)) (Belarusian: Ада́м Берна́рд Міцке́віч; Lithuanian: Adomas Bernardas Mickevičius; 24 December 1798 – 26 November 1855) was a Polish poet, publicist and political writer. A prime representative of the Polish Romantic period, he is one of that country's Three Bards and the greatest poet in all Polish literature. He is also considered one of the greatest Slavic and European poets. He has been described as a "Slavic bard". He was a leading Romantic dramatist and has been compared in Poland and in western Europe to Byron and Goethe.
He is known primarily as the author of the poetic novel Dziady and national epic Pan Tadeusz, which is considered the last great epic of Polish-Lithuanian noble culture. Mickiewicz's other influential works include Konrad Wallenrod and Grażyna. All served as inspiration during regional uprisings and as foundations for the concept of Poland as "the Christ of Nations."
Mickiewicz was active in the struggle to achieve independence for his homeland, then part of the Russian Empire. Having spent five years in internal exile in central Russia for political activities, he left the Empire in 1829 and spent the rest of his life in emigration, like many of his compatriots. He settled first in Rome, later in Paris, where he became professor of Slavic literature at the Collège de France. He died, probably of cholera, at Constantinople in the Ottoman Empire, where he had gone to help organize Polish forces to fight against Russia in the Crimean War. His remains were later moved to Wawel Cathedral in Kraków, Poland.
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Adam Müller
Adam Heinrich Müller (30 June 1779 – 17 January 1829) was a German publicist, literary critic, political economist, theorist of the state and forerunner of economic romanticism.
Müller was born in Berlin. It was intended that he should study Protestant theology, but from 1798 he devoted himself in Göttingen to the study of law, philosophy, and natural science. He was a student of Gustav Hugo. Returning to Berlin, he was persuaded by his friend Friedrich Gentz to take up political science. He had early formed a close intimacy with Gentz, his elder by 15 years; and this connection exercised an important influence both on his material circumstances and his mental development in after life. The two men differed widely in character and in their fundamental principles, but agreed, at least in their later period, in their practical political aims, and the friendship was only terminated by death.
Müller worked for some time as referendary in the Kurmärkische Kammer in Berlin. Müller's relations with the Junker party and his co-operation with them in their opposition to Hardenberg's reforms made any public employment in Prussia impossible for him. He travelled in Sweden and Denmark, spent about two years in Poland, and then went to Vienna, where he was converted to the Catholic faith on 30 April 1805. Through Gentz he became acquainted with Metternich, to whom he was useful in the preparation of state papers.
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Adam Oehlenschläger
Adam Gottlob Oehlenschläger (14 November 1779 – 20 January 1850) was a Danish poet and playwright. He introduced romanticism into Danish literature.
He was born in Vesterbro, then a suburb of Copenhagen, on November 14,1779. His father, a Schleswiger by birth, was at that time organist, and later became keeper, of the royal palace of Frederiksberg; he was a very brisk and cheerful man. The poet's mother, on the other hand, who was partly German by extraction, suffered from depression, which afterwards deepened into melancholy madness.
Oehlenschläger and his sister Sofia were allowed their own way throughout their childhood, and were taught nothing, except to read and write, until their twelfth year. At the age of nine, Oehlenschläger began to make fluent verses. Three years later, while walking in Frederiksberg Gardens, he attracted the notice of the poet Edvard Storm, and the result of the conversation was that he received a nomination to the college called Posterity's High School, an important institution of which Storm was the principal. Storm himself taught the class of Scandinavian mythology, and thus Oehlenschläger received his earliest bias towards the poetical religion of his ancestors.
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Adolphe Adam
Adolphe Charles Adam (24 July 1803 – 3 May 1856) was a French composer and music critic. A prolific composer of operas and ballets, he is best known today for his ballets Giselle (1844) and Le corsaire (1856, his last work), his operas Le postillon de Lonjumeau (1836), Le toréador (1849) and Si j'étais roi (1852, often regarded as his finest work), and his Christmas carol "Minuit, chrétiens!" ("O Holy Night") (1847). Adam was also a noted teacher. Léo Delibes was among his pupils.
Adolphe Adam was born in Paris to Louis Adam (1758–1848), who was also a composer, as well a professor at the Paris Conservatoire. His mother was the daughter of a physician. As a child, Adolphe Adam preferred to improvise music on his own rather than study music seriously. He entered the Paris Conservatoire in 1821, where he studied organ and harmonium under the celebrated opera composer François-Adrien Boieldieu. Adam also played the triangle in the orchestra of the Conservatoire; however, he did not win the Prix de Rome and his father did not encourage him to pursue a music career.
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Alessandro Manzoni
Alessandro Francesco Tommaso Manzoni (7 March 1785 – 22 May 1873) was an Italian poet and novelist. He is famous for the novel The Betrothed (orig. Italian: I Promessi Sposi) (1827), generally ranked among the masterpieces of world literature. The novel is also a symbol of the Italian Risorgimento, both for its patriotic message and because it was a fundamental milestone in the development of the modern, unified Italian language.
Manzoni was born in Milan, Italy, on 7 March 1785. Pietro, his father, aged about fifty, belonged to an old family of Lecco, originally feudal lords of Barzio, in the Valsassina. The poet's maternal grandfather, Cesare Beccaria, was a well-known author, and his mother Giulia had literary talent as well. The young Alessandro spent his first two years of life in cascina Costa in Galbiate and he was wet-nursed by Caterina Panzeri, as attested by a memorial plate affixed in the place. In 1792 his parents broke their marriage and his mother began a relationship with the highbrow Carlo Imbonati, moving to England and later to Paris. For this reason, their son was brought up in several religious institutes. Alessandro Manzoni was a slow developer, and at the various colleges he attended he was considered a dunce. At fifteen, however, he developed a passion for poetry, and wrote two sonnets of considerable merit. Upon the death of his father in 1805, he joined the freethinking household of his mother at Auteuil, and spent two years mixing with the literary set of the so-called "ideologues", philosophers of the 18th-century school, among whom he made many friends, notably Claude Charles Fauriel. There too he imbibed the anti-Catholic creed of Voltairianism.
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Alexander Borodin
Alexander Porfiryevich Borodin (12 November 1833 – 27 February 1887) was a Russian Romantic composer and chemist of Georgian–Russian parentage. He was a member of the group of composers called The Five (or "The Mighty Handful"), who were dedicated to producing a specifically Russian kind of art music. He is best known for his symphonies, his two string quartets, and his opera Prince Igor. Music from Prince Igor and his string quartets was later adapted for the US musical Kismet.
Borodin was born in Saint Petersburg, the illegitimate son of a Georgian noble, Luka Gedevanishvili (Georgian: ლუკა სიმონის ძე გედევანიშვილი) and a 24-year-old Russian woman, Evdokia Konstantinovna Antonova (Евдокия Константиновна Антонова). The nobleman had him registered as the son of one of his serfs, Porfiry Borodin. As a boy he received a good education, including piano lessons. He entered the Medico–Surgical Academy in 1850, which was later home to Ivan Pavlov, and pursued a career in chemistry. On graduation he spent a year as surgeon in a military hospital, followed by three years of advanced scientific study in western Europe.
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Alexander Dreyschock
Alexander Dreyschock (October 15, 1818 – April 1, 1869) was a Czech pianist and composer.
Born in Žáky in Bohemia, his musical talents were first noticed at age of eight, and at age fifteen he travelled to Prague to study piano and composition with Václav Tomášek. By the age of twenty, Dreyshock undertook his first professional tour in December 1838, performing in various northern and central towns in Germany.
Subsequent tours saw Alexander visiting Russia (1840-42); Paris (spring 1843); London, the Netherlands, Austria and Hungary (1846); and Denmark and Sweden in 1849. Elsewhere he caused a sensation with prodigious execution of thirds, sixths, and octaves, plus other tricks. When he made his Paris debut in 1843 he included a piece for the left hand alone. Dreyschock's left-hand was renowned, and his most famous technical stunt was to play the left-hand arpeggios of Chopin's Revolutionary Étude in octaves. Observers of the time report that he played it in correct tempo, and it is known that he programmed it in all of his recitals.
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Alexander Pushkin
Alexander Sergeyevich Pushkin (Russian: Алекса́ндр Серге́евич Пу́шкин, tr. Aleksandr Sergeyevich Pushkin; IPA: [ɐlʲɪˈksandr sʲɪˈrɡʲejɪvʲɪtɕ ˈpuʂkʲɪn] ( listen); 6 June [O.S. 26 May] 1799 – 10 February [O.S. 29 January] 1837) was a Russian author of the Romantic era who is considered by many to be the greatest Russian poet and the founder of modern Russian literature.
Born into the Russian nobility in Moscow, Pushkin published his first poem at the age of fifteen, and was widely recognized by the literary establishment by the time of his graduation from the Imperial Lyceum in Tsarskoye Selo.
While under the strict surveillance of the Tsar's political police and unable to publish, Pushkin wrote his most famous play, the drama Boris Godunov. His novel in verse, Eugene Onegin, was serialized between 1825 and 1832.
Notoriously touchy about his honour, Pushkin fought a total of twenty-nine duels, and was fatally wounded in such an encounter with Georges-Charles de Heeckeren d'Anthès. D'Anthès, a French officer serving with the Chevalier Guard Regiment, had been attempting to seduce the poet's wife, Natalya Pushkina. Pushkin's early death at the age of 37 is still regarded as a catastrophe for Russian literature.
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Alexander Siloti
Alexander Ilyich Siloti (also Ziloti, Russian: Алекса́ндр Ильи́ч Зило́ти, Aleksandr Iljič Ziloti) (9 October 1863, near Kharkiv - 8 December 1945, New York) was a Russian pianist, conductor and composer. (Spelling note: A truer transliteration of his surname into English would be Ziloti; however, it is usually seen in its German transliteration Siloti. Initial s in German is pronounced z.)
Alexander Siloti was born on his father's estate near Kharkiv, Ukraine (then part of Imperial Russia). He studied piano at the Moscow Conservatory with Nikolai Zverev from 1871, then from 1875 under Nikolai Rubinstein, brother of the more famous Anton Rubinstein; from that year he also studied counterpoint under Sergei Taneyev, harmony under Pyotr Ilyich Tchaikovsky, and theory under Nikolai Hubert. He graduated with the Gold Medal in Piano in 1881. Siloti went to Weimar, Germany to further his studies with Franz Liszt, co-founding the Liszt-Verein in Leipzig, and making his professional debut on 19 November 1883. Returning to Russia in 1887, Siloti taught at the Moscow Conservatory, where his students included Alexander Goldenweiser, Leonid Maximov, and his first cousin Sergei Rachmaninoff. During this period he also began work as editor for Tchaikovsky, particularly on the First and Second piano concertos.
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Alexandre Dumas
Alexandre Dumas, pronounced: [a.lɛk.sɑ̃dʁ dy.ma], born Dumas Davy de la Pailleterie ([dy.ma da.vi də pa.jət.ʁi]) (24 July 1802 – 5 December 1870) was a French writer, best known for his historical novels of high adventure which have made him one of the most widely read French authors in the world. Many of his novels, including The Count of Monte Cristo, The Three Musketeers, Twenty Years After, and The Vicomte de Bragelonne were originally serialized. He also wrote plays and magazine articles and was a prolific correspondent. Born in poverty, Dumas was the grandson of a French nobleman and a Haitian slave.
Alexandre Dumas was born in Villers-Cotterêts in the department of Aisne, in Picardy, France.
Dumas' paternal grandparents were Marquis Alexandre-Antoine Davy de la Pailleterie, a French nobleman and Général commissaire in the Artillery in the colony of Saint-Domingue (now Haiti) and Marie-Cesette Dumas, an Afro-Caribbean Creole of mixed French and African ancestry. Their son, Thomas-Alexandre Dumas, married Marie-Louise Élisabeth Labouret, the daughter of an innkeeper. Thomas-Alexandre, then a general in Napoleon's army, fell out of favor and the family was impoverished when Dumas was born.
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Alexandre Herculano
Alexandre Herculano de Carvalho e Araújo (born March 28, 1810 in Lisbon – died September 13, 1877 in Santarém), was a Portuguese novelist and historian.
Herculano's family had humble origins. One of his grandfathers was a foreman stonemason in the royal employ. Herculano received his early education, comprising Latin, logic and rhetoric, at the Necessidades Monastery, and spent a year at the Royal Marine Academy studying mathematics with the intention of entering on a commercial career. In 1828 Portugal fell under the absolute rule of D. Miguel, and Herculano, becoming involved in the unsuccessful military pronunciamento of August 1831, had to leave Portugal clandestinely and take refuge in England and France. In 1832 he accompanied the Liberal expedition to Terceira Island as a volunteer, and was one of D. Pedro's famous army of 7500 men who landed at the Mindelo and occupied Oporto. He took part in all the actions of the great siege, and at the same time served as a librarian in the city archives. He published his first volume of verses, A Voz de Propheta, in 1832, and two years later another entitled A Harpa do Crente.
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Alfred de Musset
Alfred Louis Charles de Musset-Pathay(11 December 1810 – 2 May 1857) was a French dramatist, poet, and novelist. Along with his poetry, he is known for writing La Confession d'un enfant du siècle (The Confession of a Child of the Century, autobiographical) from 1836.
Musset was born on 11 December 1810 in Paris. His family was upper-class but poor and his father worked in various key government positions, but never gave his son any money. His mother was similarly accomplished, and her role as a society hostess - for example her drawing-room parties, luncheons, and dinners, held in the Musset residence - left a lasting impression on young Alfred.
Early indications of Musset's boyhood talents were seen by his fondness for acting impromptu mini-plays based upon episodes from old romance stories he had read. Years later, elder brother Paul de Musset would preserve these, and many other details, for posterity, in a biography on his famous younger brother.
Alfred de Musset entered the collège Henri-IV at the age of nine, where in 1827 he won the Latin essay prize in the Concours général. With the help of Paul Foucher, Victor Hugo's brother-in-law, he began to attend, at the age of 17, the Cénacle, the literary salon of Charles Nodier at the Bibliothèque de l'Arsenal. After attempts at careers in medicine (which he gave up owing to a distaste for dissections), law, drawing, English and piano, he became one of the first Romantic writers, with his first collection of poems, Contes d'Espagne et d'Italie (1829, Tales of Spain and Italy). By the time he reached the age of 20, his rising literary fame was already accompanied by a sulphurous reputation fed by his dandy side.
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Almeida Garrett
João Baptista da Silva Leitão de Almeida Garrett, Viscount of Almeida Garrett (February 4, 1799 – December 9, 1854) was a Portuguese poet, playwright, novelist and politician. He is considered to be the introducer of the Romanticism in Portugal. He is regarded as one of history's greatest romantics and a true revolutionary and humanist.
Garrett was born João Leitão da Silva in Porto, the son of António Bernardo da Silva Garrett (1740–1834), a Fidalgo of the Royal Household and Knight of the Order of Christ whose mother was the daughter of an Irish father born in exile in France and an Italian mother born in Spain, and his wife (m. 1796) Ana Augusta de Almeida Leitão (b. Porto, c. 1770). At an early age, around 4 or 5 years old, Garrett changed his name to João Baptista da Silva Leitão, adding a name from his godfather and altering the order of his surnames.
In 1809, his family fled the second French invasion carried out by Soult's troops, seeking refuge in Angra do Heroísmo, Terceira Island, Azores. While in the Azores, he was taught by his uncle, Dom Frei Alexandre da Sagrada Família (Faial, Horta, May 22, 1737 – Terceira, Angra do Heroísmo, April 22, 1818), also a freemason, then the 25th Bishop of Angra (1816–1818) and former Bishop of Malaca and Timor; his two other uncles were Manuel Inácio da Silva Garrett, Archdeacon of Angra, and Inácio da Silva Garrett, also a clergyman of Angra. In childhood, his mulatto Brazilian nanny Rosa de Lima taught him some traditional stories that later influenced his work.
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Aloysius Bertrand
Louis-Jacques-Napoléon “Aloysius” Bertrand (20 April 1807 – 29 April 1841) was a French poet instrumental in the introduction of the prose poem into French literature and is credited with inspiring later Symbolist poets . He wrote a collection of poems entitled Gaspard de la nuit, after which composer Maurice Ravel wrote a suite of the same name, based on the poems "Scarbo", "Ondine", and "Le Gibet".
Bertrand was born in Ceva, Piedmont, Italy (then a part of Napoleonic France) and his family settled in Dijon in 1814. There he developed an interest in the Burgundian capital. His contributions to a local paper lead to recognition by Victor Hugo and Sainte-Beuve. He lived in Paris shortly with little success. He returned to Dijon and continued writing for local newspapers. Gaspard was sold in 1836 but it wasn't published until 1842 after his death of tuberculosis. The book was rediscovered by Charles Baudelaire and Stéphane Mallarmé. It is now considered a classic of poetic and fantastic literature. He died in Paris.
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Antoine Wiertz
Antoine Joseph Wiertz (22 February 1806 – 18 June 1865) was a Belgian romantic painter and sculptor.
Born in Dinant from a relatively poor family, he entered the Antwerp art academy in 1820. Thanks to his protector Pierre-Joseph de Paul de Maibe, a member of the Second Chamber of the States-General, king William I of the Netherlands awarded an annual stipend to Wiertz from 1821 onwards. Between November 1829 and May 1832, he stayed in Paris, where he studied the old masters at the Louvre.
In 1828, Wiertz took part in the Grand Concours, also known as Concours de Rome, but came out only second. He landed the prestigious Prix de Rome only at his second attempt in 1832, which enabled him to go to Rome, where he resided from May 1834 until February 1837. Upon his return, he established himself in Liège with his mother.
During his stay in Rome, Wiertz worked on his first great work, Les Grecs et les Troyens se disputant le corps de Patrocle ("Greeks and Trojans fighting for the body of Patrocles", finished in 1836), on a subject borrowed from canto XVII of Homer's Iliad. It was exhibited in Antwerp in 1837, where it met with some success. Wiertz submitted the work for the Paris Salon of 1838, but it arrived too late and was refused.
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Anton Reicha
Anton (Antonín, Antoine) Reicha (Rejcha) (26 February 1770 – 28 May 1836) was a Bohemia-born, later naturalized French composer. A contemporary and lifelong friend of Beethoven, Reicha is now best remembered for his substantial early contribution to the wind quintet literature and his role as a teacher – his pupils included Franz Liszt and Hector Berlioz. Reicha was also an accomplished theorist and wrote several treatises on various aspects of composition. Some of his theoretical work dealt with experimental methods of composition, which he applied in a variety of works such as fugues and études for piano and string quartets.
Reicha was born in Prague into a family of a town piper. His father died when Reicha was just 10 months old, and his mother was uninterested in the boy's education. At the age of 10 the young composer ran away from home, and was subsequently raised and educated in music by his uncle Josef Reicha. When the family moved to Bonn, Josef secured for his nephew a place at the Hofkapelle, but for Reicha this was not enough. He studied composition secretly, against his uncle's wishes, and entered the University of Bonn in 1789. When Bonn was captured by the French in 1794, Reicha had to flee to Hamburg, where he made his living by teaching harmony and composition, and studied mathematics and philosophy. Between 1799 and 1801 he lived in Paris, trying to achieve recognition as an opera composer, without success. In 1801 he moved to Vienna, where he studied with Salieri and Albrechtsberger and produced his first important works. His life was once again affected by war in 1808, when he had to leave Vienna. Reicha settled in Paris, where he spent the rest of his life teaching composition; in 1818 he was appointed professor at the Conservatoire.
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Anton Rubinstein
Anton Grigorevich Rubinstein (Russian: Анто́н Григо́рьевич Рубинште́йн, tr. Anton Grigor'evič Rubinštejn) (November 28 [O.S. November 16] 1829 – November 20 [O.S. November 8] 1894) was a Russian pianist, composer and conductor who became a pivotal figure in Russian culture when he founded the Saint Petersburg Conservatory. This, together with the Moscow Conservatory founded by his brother Nikolai, were the first music schools of their type in Russia. This proved no less controversial than other aspects of Rubinstein's career, as Russian culture was deeply divided and the nation itself was going through an identity crisis that would last for the rest of the 19th century. Rubinstein drew a tremendous amount of criticism about the conservatory from nationalistically minded individuals such as critic Vladimir Stassov and members of the group of composers known collectively as The Five.
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Antoni Malczewski
Antoni Malczewski (3 June 1793 – 2 May 1826) was an influential Polish romantic poet, known for his only work, "a narrative poem of dire pessimism", Maria (1825).
At the times, prominent and scandalizing was his autodestructive romance with married woman, Zofia Rucińska, who suffered from mental illness.
Malczewski was born to a wealthy family in either Volhynia or Warsaw, and attended school in Krzemieniec (modern-day Kremenets, Ukraine), but did not graduate. He joined the army of the short-lived Duchy of Warsaw during the Napoleonic Wars in 1811, and remained in the army of Congress Poland under Emperor Alexander from 1815. He was wounded in the foot in a duel in 1816 and so had to leave the army.
After leaving the army, he spent several years traveling through western Europe, staying some time in Paris, climbing Mont Blanc in 1818, and spending a good portion of his inherited fortune. He returned to his estate in Volhynia in 1821, where he began an ill-fated affair with a married woman and began writing. He moved to Warsaw in 1824, where he published the poetic novel Maria at his own expense in 1825, and died in poverty the next year in unclear circumstances.
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Antonio Salieri
Antonio Salieri (18 August 1750 – 7 May 1825) was a Venetian classical composer, conductor and teacher born in Legnago, south of Verona, in the Republic of Venice, but who spent his adult life and career as a faithful subject of the Habsburg monarchy.
Salieri was a pivotal figure in the development of late 18th-century opera. As a student of Florian Leopold Gassmann, and a protege of Gluck, Salieri was a cosmopolitan composer who wrote operas in three languages. Salieri helped to develop and shape many of the features of operatic compositional vocabulary and his music was a powerful influence on contemporary composers.
Appointed the director of the Italian opera by the Hapsburg court, a post he held from 1774 to 1792, Salieri dominated Italian language opera in Vienna. During his career he also spent time writing works for opera houses in Venice, Rome, and Paris. His dramatic works were widely performed throughout Europe during his lifetime. As the Austrian imperial Kapellmeister from 1788 to 1824, he was responsible for music at the court chapel and attached school. Even as his works dropped from performance, and he wrote no new operas after 1804, he still remained one of the most important and sought after teachers of his generation and his influence was felt in every aspect of Vienna's musical life. Franz Schubert, Ludwig van Beethoven and Franz Liszt were among the most famous of his pupils.
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Arthur Friedheim
Arthur Friedheim (Russian: Артур Фридхайм, 26 October 1859 – 19 October 1932) was a Russian-born pianist, conductor and composer who was one of Franz Liszt's foremost pupils.
Friedheim was born in Saint Petersburg in 1859. He began serious study of music at age eight. He later studied for a year with noted pianist Anton Rubinstein but disapproved of Rubinstein's disorganized teaching methods and went instead to Liszt.
At first Liszt did not like Friedheim's playing, though he admitted the individuality of Friedheim's style. Harold C. Schonberg asserts in his book The Great Pianists that another reason Liszt may have been hesitant was because Friedheim had studied with Rubinstein, of whom Liszt may not have been terribly fond. Friedheim had to play before Liszt several times before becoming accepted as a pupil in 1880. Liszt eventually became fond enough of Friedheim to make him his secretary. Friedheim became fond enough of Liszt to copy many of his mannerisms, many of which were noted by pianist and composer Ferruccio Busoni after hearing him play in 1883. Friedheim also gained orchestral experience conducting in theaters and opera houses in Germany.
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August Stradal
August Stradal (17 May 1860, Teplice, Bohemia – 13 March 1930, Krásná Lípa) was a Bohemian pianist and music teacher. A student of Anton Bruckner, he made solo piano arrangements of that composer's symphonies 1, 2, 5, 6, and 8. His pianistic credentials included studies with both Theodor Leschetizky and Franz Liszt. He received the Czechoslovak State Award in 1928.
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Bedřich Smetana
Bedřich Smetana (Czech pronunciation: [ˈbɛdr̝ɪx ˈsmɛtana] ( listen); 2 March 1824 – 12 May 1884) was a Czech composer who pioneered the development of a musical style which became closely identified with his country's aspirations to independent statehood. He is thus widely regarded in his homeland as the father of Czech music. Internationally he is best known for his opera The Bartered Bride, for the symphonic cycle Má vlast ("My Fatherland") which portrays the history, legends and landscape of the composer's native land, and for his First String Quartet From My Life.
Smetana was naturally gifted as a pianist, and gave his first public performance at the age of six. After his conventional schooling, he studied music under Josef Proksch in Prague. His first nationalistic music was written during the 1848 Prague uprising, in which he briefly participated. After failing to establish his career in Prague, he left for Sweden, where he set up as a teacher and choirmaster in Gothenburg, and began to write large-scale orchestral works. During this period of his life Smetana was twice married; of six daughters, three died in infancy.
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Bernhard Stavenhagen
Bernhard Stavenhagen (24 November 1862 – 25 December 1914) was a German pianist, composer and conductor. His musical style was influenced by Franz Liszt, and as a conductor he was a strong advocate of new music.
Born in Greiz, he commenced piano study in 1868. His family moved to Berlin in 1874 where he began studying with Theodor Kullak. He entered university there in 1878, privately studying composition with Friedrich Kiel.
In 1885 Stavenhagen became a pupil of Franz Liszt in Weimar, travelling with him to Rome, Budapest, Paris, London and Bayreuth. After Liszt's death in 1886, Stavenhagen embarked on a ten-year series of piano concert tours in Europe and to North America. In April 1890 he was appointed court pianist to the Grand Duke of Saxe-Weimar and the following July he married Agnes Denninghof (better known as Agnes Denis-Stavenhagen, 1860-1945), a soprano with the Weimar Court Opera. In 1893 he composed his Third Piano Concerto in B minor.
He fulfilled conducting appointments in Weimar, where he was appointed court Kapellmeister and conducted Weimar premieres of six new operas in eighteen months, and from 1898 a similar appointment in Munich. Then in 1907 he moved to Geneva, taking over the piano master classes at the Conservatoire there until his death in 1914. In subscription concerts he conducted premieres of works by composers ranging from Richard Strauss, Hans Pfitzner and Gustav Mahler to Arnold Schoenberg, Claude Debussy and Maurice Ravel.
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Bettina von Arnim
Bettina von Arnim (the Countess of Arnim) (4 April 1785, Frankfurt am Main – 20 January 1859, Berlin), born Elisabeth Catharina Ludovica Magdalena Brentano, was a German writer and novelist.
Bettina (as well: Bettine) Brentano was a writer, publisher, composer, singer, visual artist, an illustrator, patron of young talent, and a social activist. She was the archetype of the Romantic era’s zeitgeist and the crux of many creative relationships of canonical artistic figures. Best known for the company she kept, she numbered among her closest friends Goethe, Beethoven, and Pückler and tried to foster artistic agreement among them. Many leading composers of the time, including Robert Schumann, Franz Liszt, Johanna Kinkel, and Johannes Brahms, admired her spirit and talents. As a composer, von Arnim's style was unconventional, molding and melding favorite folk melodies and historical themes with innovative harmonies, phrase lengths, and improvisations that became synonymous with the music of the era.
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Brothers Grimm
The Brothers Grimm (German: Brüder Grimm or Die Gebrüder Grimm), Jakob Grimm (January 4, 1785 – September 20, 1863) and Wilhelm Grimm (February 24, 1786 – December 16, 1859), were German academics, linguists, cultural researchers, and authors who together collected folklore. They are among the most well-known storytellers of European folk tales, and their work popularized such stories as "Cinderella", "The Frog Prince" (Der Froschkönig), "Hansel and Gretel" (Hänsel und Gretel), "Rapunzel", "Rumpelstiltskin" (Rumpelstilzchen), and "Snow White" (Schneewittchen). Their first collection of folk tales, Children's and Household Tales (Kinder- und Hausmärchen), was published in 1812.
The brothers spent their formative years first in the German town of Hanau and then in Steinau. Their father's death in 1796, about a decade into their lives, caused great poverty for the family and affected the brothers for many years. They attended the University of Marburg where historian and jurist Friedrich von Savigny spurred their interest in philology and Germanic studies—a field in which they are now considered pioneers—and at the same time developed a curiosity for folklore, which grew into a life-long dedication to collecting German folk tales.
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Carl Baermann
Carl Baermann (24 October 1810 – 23 May 1885) was a clarinetist and composer from Munich, Germany.
He was the son of noted clarinet virtuoso Heinrich Baermann and Helene Harlas. As a child he was taught the clarinet and the basset-horn by his father. He played occasionally in the Munich court orchestra when he was 14 years old, and was appointed its second clarinettist in 1832. When his father retired in 1834, Carl succeeded his father as principal clarinettist. He held that position until he retired in 1880.
He toured Europe with his father in 1827, 1832 and 1838. In 1833 they premiered Felix Mendelssohn's Konzert Stücke, Opp. 113 & 114, (Concert Pieces) to great acclaim. Carl Baermann compositions, 88 opus numbers, were popular with clarinet virtuosos.
Baermann developed the Baermann-Ottensteiner key system for the clarinet, which was based on the Müller system. The system was very popular during the late 19th century, partly because of Baermann's Vollständige Clarinett-Schule (Complete School for the Clarinet), one of the leading methods for teaching the clarinet, written between 1864 and 1875.
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Carl Czerny
Carl Czerny (German: [kaɹl ˈtʃɛrni]; 21 February 1791 – 15 July 1857) was an Austrian pianist, composer and teacher. He is best remembered today for his books of études for the piano. Czerny's music was profoundly influenced by his teachers, Clementi, Hummel, Salieri and Beethoven.
Carl Czerny was born in Vienna to a musical family of Czech origin (Černý, lit. "Black"). His grandfather was a violinist and his father was an oboist, organist, and pianist. His family came to Vienna from Nymburk, Bohemia and Carl himself did not speak German until the age of ten. A child prodigy, Czerny began playing piano at age three and composing at age seven. His first piano teacher was his father, Wenzel Czerny, who taught him mainly Bach, Mozart, and Clementi. Czerny began performing piano recitals in his parents' home. Beethoven, attending one such recital, was so impressed with Czerny's performance of his Pathétique Sonata that he took on the 10 year old as a student. Czerny remained under Beethoven's tutelage for the next three years. Czerny went on to take lessons from Johann Nepomuk Hummel and Antonio Salieri. Czerny also attended courses which Muzio Clementi held in Paris, Vienna, St. Petersburg, Berlin, Prague, Rome and Milan.
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Carl Loewe
Johann Carl Gottfried Loewe (30 November 1796, Löbejün – 20 April 1869), usually called Carl Loewe (sometimes seen as Karl Loewe), was a German composer, baritone singer and conductor. In his lifetime, his songs were well enough known for some to call him the "Schubert of North Germany", and Hugo Wolf came to admire his work. He is less known today, but sometimes his ballads and songs, which amount to over 400, are occasionally performed.
Loewe was born in Löbejün and received his first music lessons from his father. He was a choir-boy, first at Köthen, and later at Halle, where he went to grammar school. The beauty of Loewe's voice brought him under the notice of Madame de Staël, who procured him a pension from Jérôme Bonaparte, then king of Westphalia, which enabled him to further his education in music, and to study theology at Halle University. This ended in 1813, on the flight of the king.
In 1820, he moved to Stettin in Prussia (now Szczecin in Poland), where he worked as organist and music director of the school. It was while there that he did most of his work as a composer, publishing a version of Goethe's Erlkönig in 1824 (written 1817-18) which some say rivals Schubert's far more famous version. He went on to set many other poets' works, including Friedrich Rückert, and translations of William Shakespeare and Lord Byron.
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Carl Maria von Weber
Carl Maria Friedrich Ernst von Weber (18 or 19 November 1786 – 4–5 June 1826) was a German composer, conductor, pianist, guitarist and critic, one of the first significant composers of the Romantic school.
Weber's operas Der Freischütz, Euryanthe and Oberon greatly influenced the development of the Romantic opera in Germany. Der Freischütz came to be regarded as the first German "nationalist" opera, Euryanthe developed the Leitmotiv technique to a hitherto-unprecedented degree, while Oberon anticipated Mendelssohn's music for A Midsummer Night's Dream and, at the same time, revealed Weber's lifelong interest in the music of non-Western cultures. This interest was first manifested in Weber's incidental music for Schiller's translation of Gozzi's Turandot, for which he used a Chinese melody, making him the first Western composer to use an Asian tune that was not of the pseudo-Turkish kind popularized by Mozart and others.
A brilliant pianist himself, Weber composed four sonatas, two concertos and the Konzertstück (Concert Piece) in F minor, which influenced composers such as Chopin, Liszt and Mendelssohn. The Konzertstück provided a new model for the one-movement concerto in several contrasting sections (such as Liszt's, who often played the work), and was acknowledged by Stravinsky as the model for his Capriccio for Piano and Orchestra. Weber's shorter piano pieces, such as the Invitation to the Dance, was later orchestrated by Berlioz, while his Polacca Brillante was later orchestrated by Liszt.
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Carl Tausig
Carl (or Karl) Tausig (4 November 1841 – 17 July 1871) was a Polish virtuoso pianist, arranger and composer.
Tausig was born in Warsaw to Jewish parents and received his first piano lessons from his father, pianist and composer Aloys Tausig, a student of Sigismond Thalberg. His father introduced him to Franz Liszt in Weimar at the age of 14. He quickly became a favorite pupil of Liszt's, travelling with him on concert tours and studying counterpoint, composition and orchestration in addition to his piano lessons. At the age of 16 he met Richard Wagner, of whom he became a devoted follower and friend. He also became a great admirer and friend of Johannes Brahms. Tausig made piano arrangements of many of Wagner's operas. He also introduced to Wagner his friend Peter Cornelius, another Wagner devotee.
In 1858 Tausig made his debut in Berlin at a concert conducted by Hans von Bülow. While some critics admired his technical feats at the keyboard, others found his playing noisy and overbearing. Even some who were more accommodating of Tausig's "Lisztian eccentricities" felt he would play better as he matured. Tausig toured through various German towns in 1859-60, making Dresden his base. He moved to Vienna in 1862; there he gave concerts of modern orchestral music, including some of his own symphonic poems. These concerts were only partially successful artistically and a failure financially. After staying out of public view for a few years, during which time he married pianist Seraphine von Vrabely, he began touring once again and was now considered a pianist of breadth and dignity of style.
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Charles Gounod
Charles-François Gounod (French pronunciation: [ʃaʁl fʁɑ̃swa ɡuno]; 17 June 1818 – 17 October or 18 October 1893) was a French composer, known for his Ave Maria as well as his operas Faust and Roméo et Juliette.
Gounod was born in Paris, the son of a pianist mother and an artist father. His mother was his first piano teacher. Under her tutelage, Gounod first showed his musical talents. He entered the Paris Conservatoire, where he studied under Fromental Halévy and Pierre Zimmermann (he later married Zimmermann's daughter). In 1839, he won the Prix de Rome for his cantata Fernand. He was following his father; François-Louis Gounod (d. 1823) had won the second Prix de Rome in painting in 1783. During his stay of four years in Italy, Gounod studied the music of Palestrina and other sacred works of the sixteenth century; these he never ceased to cherish. Around 1846-47 he gave serious consideration to joining the priesthood, but he changed his mind before actually taking holy orders, and went back to composition. During that period, he was attached to the Church of Foreign Missions in Paris.
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Charles Rosen
Charles Rosen (born May 5, 1927) is an American pianist and author on music.
In his youth he studied piano with Moriz Rosenthal. Rosenthal, born in 1862, had been a student of Franz Liszt. Rosenthal's memories of the 19th century in classical music were communicated to his pupil and appear frequently in Rosen's later writings.
Rosen has said that the pianist Józef Hofmann, whom he heard every year from age three to twelve, was a greater influence on him than Rosenthal. He recalls having played for Leopold Godowsky at age seven; Godowsky asked Rosen what he would like to be when he grew up, and, to Godowsky's amusement, Rosen answered, "I want to be a pianist like Józef Hofmann." Rosen has also named Arturo Toscanini as a great influence.
Following his training Rosen pursued a successful career as a concert pianist, appearing in numerous recitals and orchestral engagements around the world. He recorded a number of 20th century works at the invitation of their composers, including music by Stravinsky, Elliott Carter, and Pierre Boulez. His recordings also include earlier literature such as Debussy's Études, Schumann's works for solo piano, Beethoven's late sonatas and Diabelli Variations, and Bach's Art of Fugue and Goldberg Variations.
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Charles X of France
Charles X (Charles Philippe; 9 October 1757 – 6 November 1836) was known for most of his life as the Comte d'Artois before he reigned as King of France and of Navarre from 16 September 1824 until 2 August 1830. A younger brother to Kings Louis XVI and Louis XVIII, he supported the latter in exile and eventually succeeded him. His rule of almost six years ended in the July Revolution of 1830, which frustrated his attempts to keep the crown in the senior branch of the House of Bourbon and resulted in the election of Louis Philippe, Duke of Orléans, as King of the French. Exiled once again, Charles died in Gorizia, then part of the Austrian Empire.
Charles Philippe of France was born in 1757, the youngest son of the Dauphin Louis and his wife, the Dauphine Marie Josèphe, at the Palace of Versailles. Charles was created "Count of Artois" at birth by his grandfather, the reigning King Louis XV. As the youngest male in the family, Charles seemed unlikely ever to become king. His eldest brother, Louis, Duke of Burgundy, died unexpectedly in 1761, which moved Charles up one place in the line of succession. He was raised by Madame de Marsan, the Governess of the Children of France.
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Chrétien Urhan
Chrétien Urhan (Baptised as Christian Urhan; February 16, 1790, Montjoie - November 2, 1845, Belleville) was a violinist, organist, composer and player of the viola and the viola d'amore.
His father first introduced him to the violin. He was first mentioned in 1804 by Joséphine de Beauharnais that he had replaced a violinist for a performance of Haydn's The Creation, at the young age of 14. From there he was sent to work in Paris, where he took instruction from Jean-François Lesueur, master of the chapel of the Tuileries. He also learned from prominent teachers such as François-Antoine Habeneck, Rodolphe Kreutzer and Pierre Rode. He was invited to join the imperial chapel as a violinist in 1810.
In this period the young Urhan shared lodgings with his friends the harpist Franz Anton Stockhausen (father of Julius Stockhausen) and the painter Carl Begas the elder (who was studying with Antoine Jean Gros, 1813-15). In 1815, through a Quartermaster in the Prussian army of occupation, Urhan and Stockhausen (who corresponded with Beethoven) obtained a score of Beethoven's Eroica Symphony and set it before Habeneck, with the result that the work was introduced to Paris. The two were among Amis de Beethoven, or Beethoven-Bruder in Paris, together with Wilhelm Mangold and others. In the early 1820s the violinist Sina, a member of the string quartet led by Schuppanzigh for Andreas Razumovsky, with Urhan gave new encouragement to Habeneck to continue with the master's works. Until Stockhausen's marriage to the singer Margarethe Schmuck, a member of their circle, in 1825, he lived with Urhan, who remained a lifelong friend.
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Clara Schumann
Clara Schumann (née Clara Josephine Wieck; 13 September 1819 – 20 May 1896) was a German musician and composer, considered one of the most distinguished pianists of the Romantic era. She exerted her influence over a 61-year concert career, changing the format and repertoire of the piano recital and the tastes of the listening public. Her husband was the composer Robert Schumann. She and her husband encouraged Johannes Brahms, and she was the first pianist to give public performances of some of Brahms' works, notably the Variations and Fugue on a Theme by Handel.
Clara Josephine Wieck was born in Leipzig on 13 September 1819 to Friedrich and Marianne Wieck (née Tromlitz). Her parents divorced when she was four years old; Clara was raised by her father. One of her father's students would scare Clara and dress up as ghosts but when she was older, she married him. In March 1828, at the age of eight, the young Clara Wieck performed at the Leipzig home of Dr. Ernst Carus, director of a mental hospital at Colditz Castle, and met another gifted young pianist invited to the musical evening named Robert Schumann, nine years older than her. Schumann admired Clara's playing so much that he asked permission from his mother to discontinue his studies of the law, which had never interested him much, and take music lessons with Clara's father, Friedrich Wieck. While taking lessons, he took rooms in the Wieck household, staying about a year.
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Claude Debussy
Claude-Achille Debussy (French pronunciation: [klod aʃil dəbysi]) (22 August 1862 – 25 March 1918) was a French composer. Along with Maurice Ravel, he was one of the most prominent figures working within the field of impressionist music, though he himself intensely disliked the term when applied to his compositions. In France, he was made Chevalier of the Legion of Honour in 1903. A crucial figure in the transition to the modern era in Western music, he remains one of the most famous and influential of all composers.
His music is noted for its sensory component and for not often forming around one key or pitch. Often Debussy's work reflected the activities or turbulence in his own life. In French literary circles, the style of this period was known as symbolism, a movement that directly inspired Debussy both as a composer and as an active cultural participant.
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Clemens Brentano
Clemens Brentano, or Klemens Brentano (September 9, 1778 – July 28, 1842) was a German poet and novelist.
He was born in Ehrenbreitstein, near Koblenz, Germany. His sister was Bettina von Arnim, Goethe's correspondent. His father's family was of Italian descent. He studied in Halle and Jena, afterwards residing at Heidelberg, Vienna and Berlin. He was close to Wieland, Herder, Goethe, Friedrich Schlegel, Fichte and Tieck.
From 1798 to 1800 Brentano lived in Jena, the first center of the romantic movement. In 1801, he moved to Göttingen, and became a friend of Achim von Arnim. He married writer Sophie Mereau on 29 October 1803. In 1804, he moved to Heidelberg and worked with Arnim on Zeitungen für Einsiedler and Des Knaben Wunderhorn. After his wife Sophie died in 1806 he married a second time in 1807 to Auguste Busmann. In the years between 1808 and 1818, he lived mostly in Berlin, and from 1819 to 1824 in Dülmen, Westphalia.
In 1818, weary of his somewhat restless and unsettled life, he returned to the practice of the Catholic faith and withdrew to the monastery of Dülmen, where he lived for some years in strict seclusion. He took on there the position of secretary to the Catholic visionary nun, the Blessed Anne Catherine Emmerich, of whom it was said that, during the last twelve years of her life, she could eat no food except Holy Communion, nor take any drink except water, subsisting entirely on the Holy Eucharist.
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Conrad Ansorge
Conrad Eduard Reinhold Ansorge (15 October 1862 – 13 February 1930) was a German pianist, teacher and composer.
He was born in Buchwald, Silesia, studied at the Leipzig Conservatory between 1880 and 1882, and under Franz Liszt in Weimar in 1885 and 1886. He toured Europe and the United States. He was known for his interpretations of Beethoven.
On 15 April 1890, his "Orpheus" symphony was performed in Steinway Hall, New York, under the baton of Theodore Thomas. He became professor of pianoforte at Weimar in 1893. From 1898 to 1903 he taught in Berlin, at the Klindworth-Scharwenka Conservatory.
In 1920 he became head of the piano master class at the German Academy (Deutschen Akademie für Musik und Darstellende Kunst) in Prague.
Conrad Ansorge's students included: Selim Palmgren, Eduard Erdmann, James Simon, Alice Herz-Sommer, and Wilhelm Furtwängler.
He made some Welte-Mignon recordings in 1905, of music by Liszt, Schumann and others. He also wrote a Requiem, two symphonies, a piano concerto, three piano sonatas, two string quartets, and other works. None of these are in the current repertoire.
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Conrad Graf
Conrad Graf (17 November 1782, Riedlingen, Württemberg – 18 March 1851, Vienna) was an Austrian-German piano maker. His pianos were used by Beethoven, Chopin, and Clara Schumann, among others.
Graf began his career as a cabinet maker, studying the craft in his native Riedlingen in south Germany. He reached the status of journeyman in 1796 and migrated to Vienna in either 1798 or 1799. In 1800 he served briefly in an all-volunteer military unit, the Jäger Freikorps, then became apprenticed to a piano maker named Jakob Schelkle, who worked in Währing, then a suburb of Vienna. When Schelkle died in 1804, Graf married his widow Katharina and took over the shop.
The Graf family had two children listed in census records: Karalina Schelklin (born 1802), from Katherina's previous marriage, and Juliana Graf (born 1806). Katherina died in 1814, and Graf did not remarry.
It is not known how Graf developed his style or methods for building pianos. None of the pianos of his teacher Schelkle survive, and the surviving early Graf instruments are not much different from his fully mature ones. As Wythe says, "Graf's style appears to have emerged fully developed out of an apprenticeship with an obscure provincial maker."
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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 the French socialite Marie d'Agoult. In 1870 she became the second wife of the German composer Richard Wagner. She helped him to establish the Bayreuth Festival, and after the composer's death in 1883 became a fervent champion of his music and philosophy.
Born at an early stage in her father's ascendant career, Cosima's childhood was spent under the care of her grandmother and with governesses. In 1857, at the age of 19, she married the conductor Hans von Bülow, himself a devotee of both Liszt and Wagner. It was largely a loveless union, and in 1863 Cosima began a relationship with Wagner. In the following six years she bore the composer three children before her final separation from von Bülow.
After her marriage to Wagner, overcoming or ignoring the associated scandals, Cosima devoted her life to his works. Following Wagner's death she assumed direction of the Bayreuth Festival until illness forced her retirement in 1906. An unbending autocratic, throughout her directorship she maintained a rigid adherence to Wagner's original productions of his operas, such that Bernard Shaw pronounced her the "chief remembrancer". This traditional style was continued by her son Siegfried after Cosima's retirement.
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Cyprian Norwid
Cyprian Kamil Norwid, a.k.a. Cyprian Konstanty Norwid (Polish pronunciation: [ˈt͡sɨprjan ˈnɔrvid]; 24 September 1821– 23 May 1883) is a nationally esteemed Polish poet, dramatist, painter, and sculptor. He was born in the Masovian village of Laskowo-Głuchy near Warsaw. One of his maternal ancestors was the Polish King John III Sobieski.
Norwid is regarded as one of the second generation of romantics. He wrote many well-known poems including Fortepian Szopena ("Chopin's Piano"), Moja piosnka [II] ("My Song [II]") and Bema pamięci żałobny-rapsod ("A Funeral Rhapsody in Memory of General Bem"). Norwid led a tragic and often poverty-stricken life (once he had to live in a cemetery crypt). He experienced increasing health problems, unrequited love, harsh critical reviews, and increasing social isolation. He lived abroad most of his life, especially in London and in Paris, where he died.
Norwid’s original and non-conformist style was not appreciated in his lifetime and partially due to this fact, he was excluded from high society. His work was only rediscovered and appreciated during the Young Poland art period of the late nineteenth and early twentieth century. He is now considered one of the four most important Polish Romantic poets. Other literary historians, however, consider this an over-simplification, and regard his style to be more characteristic of classicism and parnassianism.
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César Franck
César-Auguste-Jean-Guillaume-Hubert Franck (10 December 1822 – 8 November 1890) was a composer, pianist, organist, and music teacher who worked in Paris during his adult life.
He was born at Liège, in what is now Belgium (though at the time of his birth it was under the Netherlands' control). In that city he gave his first concerts in 1834. He studied privately in Paris from 1835, where his teachers included Anton Reicha. After a brief return to Belgium, and a disastrous reception to an early oratorio Ruth, he moved to Paris, where he married and embarked on a career as teacher and organist. He gained a reputation as a formidable improviser, and travelled widely in France to demonstrate new instruments built by Aristide Cavaillé-Coll.
In 1858 he became organist at Sainte-Clotilde, a position he retained for the rest of his life. He became professor at the Paris Conservatoire in 1872; he took French nationality, a requirement of the appointment. His pupils included Vincent d'Indy, Ernest Chausson, Louis Vierne, Charles Tournemire, Guillaume Lekeu, and Henri Duparc. After acquiring the professorship Franck wrote several pieces that have entered the standard classical repertoire, including symphonic, chamber, and keyboard works.
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Daniel Auber
Daniel François Esprit Auber (French pronunciation: [daɲɛl fʁɑ̃swa ɛspʁi obɛːʁ]) (29 January 1782 – 12/13 May 1871) was a French composer.
The son of a Paris print-seller, Auber was born in Caen in Normandy. Though his father expected him to continue in the print-selling business, he also allowed his son to learn how to play several musical instruments. His first teacher was the Tirolean composer, Josef Alois Ladurner (1769–1851). At the age of 20 Auber was sent to London for business training, but he was obliged to leave England in 1804 when the Treaty of Amiens was breached.
Auber had already attempted musical composition, and at this period produced several concertos pour basse, modeled after violoncellist Lamarre, in whose name they were published. The praise given to his concerto for the violin, which was played at the Paris Conservatoire by Mazas, encouraged him to undertake a resetting of an old comic opera, Julie (1811). He also began to study with the renowned Luigi Cherubini.
In 1813 the unfavourable reception of his one-act debut opera Le Séjour militaire put an end for some years to his attempts as composer. But his failure in business, and the death of his father in 1819, compelled him once more to turn to music. He produced another opera, Le Testament et les billets-doux (1819), which was no better received than the former. But he persevered, and the next year was rewarded by the complete success of La Bergère châtelaine, an opera in three acts.
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Dionys Pruckner
Dionys Pruckner (1834–1896) was a noted pianist and music teacher at Stuttgart. He was a student of Franz Liszt from 1852 until about 1855 who did concert tours throughout Europe. In 1859 he was appointed to the faculty of the Stuttgart Conservatory.
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Edgar Allan Poe
Edgar Allan Poe (born Edgar Poe; January 19, 1809 – October 7, 1849) was an American author, poet, editor and literary critic, considered part of the American Romantic Movement. Best known for his tales of mystery and the macabre, Poe was one of the earliest American practitioners of the short story and is considered the inventor of the detective fiction genre. He is further credited with contributing to the emerging genre of science fiction. He was the first well-known American writer to try to earn a living through writing alone, resulting in a financially difficult life and career.
He was born as Edgar Poe in Boston, Massachusetts; he was orphaned young when his mother died shortly after his father abandoned the family. Poe was taken in by John and Frances Allan, of Richmond, Virginia, but they never formally adopted him. He attended the University of Virginia for one semester but left due to lack of money. After enlisting in the Army and later failing as an officer's cadet at West Point, Poe parted ways with the Allans. His publishing career began humbly, with an anonymous collection of poems, Tamerlane and Other Poems (1827), credited only to "a Bostonian".
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Eduard Reuss
Eduard Reuss (16 September 1851 - 18 February 1911) was a German composer, pianist, music educator, and writer on music. He is best known for his writings on composer Franz Liszt, including a highly thought of biography Ein Lebensbild (1898). He also authored the book Liszls Lieder (1906) and penned several essays on the life and works of Liszt. As a composer, he mainly produced works for solo piano and also made arrangements of several works by Liszt.
Born in New York City to German immigrants to the United States, Reuss lived most of his life in Germany. He began his musical training at the age of 11 in Göttingen where he was a pupil of composer and music critic Eduard Kriiger (1805–1885) from 1862-1869. He then became a disciple of Franz Liszt, studying with the great composer from 1870-1879. He was also a student of Marie Gabriel Augustin Savard in Paris in 1876-1877.
In 1880 Reuss joined the teaching staff at the Karlsruhe Conservatory where he remained until 1896 when he joined the faculty of the Wiesbaden Conservatory. He was appointed director of that institution in 1899 where he remained until 1902. He then traveled to the United States with his wife, the dramatic soprano Luise Reuss-Belce, whom he had married earlier in 1885. The couple toured together through the US with Eduard accompanying his wife on the piano in a series of concerts in 1902-1903.
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Edvard Grieg
Edvard Hagerup Grieg /ˈɛdʋɑɖ ˈhɑːgəɾʉːp gɾiːg/ (15 June 1843 – 4 September 1907) was a Norwegian composer and pianist. He is best known for his Piano Concerto in A minor, for his incidental music to Henrik Ibsen's play Peer Gynt (which includes Morning Mood and In the Hall of the Mountain King), and for his collection of piano miniatures Lyric Pieces.
Edvard Hagerup Grieg was born in Bergen, Norway on 15 June 1843. His parents were Alexander Grieg (1806–1875), a merchant and vice consul in Bergen, and Gesine Judithe Hagerup (1814–1875), a music teacher and daughter of Edvard Hagerup. The family name, originally spelled Greig, has Scottish origins. After the Battle of Culloden in 1746, Grieg's great-grandfather traveled widely, settling in Norway about 1770, and establishing business interests in Bergen.
Edvard Grieg was raised in a musical area. His mother was his first piano teacher and taught him to play at the age of 6. Grieg studied in several schools,[clarification needed] including Tank's School. He often brought in samples of his music to class.[citation needed]
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Emanuel Leutze
Emanuel Gottlieb Leutze (May 24, 1816, Schwäbisch Gmünd – July 18, 1868) was a German American history painter best known for his painting Washington Crossing the Delaware. He is associated with the Düsseldorf school of painting.
Leutze was born in Schwäbisch Gmünd, Württemberg (Germany), and was brought to America as a child. His parents settled first in Philadelphia, Pennsylvania, then at Fredericksburg, Va. His early education was good, though not especially in the direction of art. The first development of his artistic talent occurred while he was attending the sickbed of his father, when he attempted drawing to occupy the long hours of waiting. His father died in 1831. At 14, he was painting portraits for $5 apiece. Through such work, he supported himself after the death of his father. In 1834, he received his first instruction in art in classes of John Rubens Smith, a portrait painter in Philadelphia. He soon became skilled, and promoted a plan for publishing, in Washington, portraits of eminent American statesmen; however, he met with but slight encouragement.
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Emil Haraszti
Emil Haraszti (1885 - 1958) was a Hungarian born French music critic and author. He was a director of the National Conservatory of Music in Budapest and was a scholar at the University of Budapest but lived much of his life in France and publishing in French.
In 1910, at the age of 25, he published a paper on Polish composer Frederic Chopin, entitled, Chopin és George Sand. Later, in 1956, he would publish another work on Chopin, L'élément latin dans l'oeuvre de Chopin.
In the summer of 1936, Haraszti published a two-part essay on Franz Liszt, entitled Liszt á Paris in the publication La Revue Musicale. In 1937 he published Deux Franciscians: Adam et Franz Liszt and in December of that year published La Probleme Liszt. The essay, which is a deep exploration of the musicality of Liszt, established Haraszti as one of the foremost Liszt scholars of his generation.
Haraszti famously criticized composer Bela Bartók for lacking interest in Hungarian music, describing him as "becoming an apostle of Czech, Romanian and Slovak music". He authored a book on Bartók, Béla Bartok: His Life and Works, published in 1938. He also authored a book which has been published in French, La Musique hongroise, meaning, "Hungarian Music".
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Emil von Sauer
Emil Georg Conrad von Sauer (October 8, 1862 – April 27, 1942) was a notable German composer, pianist, score editor, and music (piano) teacher. He was a pupil of Franz Liszt and one of the most distinguished pianists of his generation. Josef Hofmann called von Sauer "a truly great virtuoso."Martin Krause, another Liszt pupil, called von Sauer "the legitimate heir of Liszt; he has more of his charm and geniality than any other Liszt pupil."
Sauer was born in Hamburg, Germany on October 8, 1862 and studied with Nikolai Rubinstein at the Moscow Conservatory between 1879 and 1881. On an 1884 visit to Italy he met the Countess von Sayn-Wittgenstein, who recommended him to her former paramour, Franz Liszt. He went on to study with Liszt for two years, but did not for some time consider himself a Liszt pupil. In an 1895 interview, he even denied it: "It is not correct to regard me as a pupil of Liszt, though I stayed with him for a few months. He was then very old, and could not teach me much. My chief teacher has been, undoubtedly, Nicholas Rubinstein." In his later years, however, Sauer realized the influence of Liszt on himself and on music in general.
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Eugène Delacroix
Ferdinand Victor Eugène Delacroix (26 April 1798 – 13 August 1863) was a French Romantic artist regarded from the outset of his career as the leader of the French Romantic school. Delacroix's use of expressive brushstrokes and his study of the optical effects of colour profoundly shaped the work of the Impressionists, while his passion for the exotic inspired the artists of the Symbolist movement. A fine lithographer, Delacroix illustrated various works of William Shakespeare, the Scottish writer Walter Scott and the German writer Johann Wolfgang von Goethe.
In contrast to the Neoclassical perfectionism of his chief rival Ingres, Delacroix took for his inspiration the art of Rubens and painters of the Venetian Renaissance, with an attendant emphasis on colour and movement rather than clarity of outline and carefully modeled form. Dramatic and romantic content characterized the central themes of his maturity, and led him not to the classical models of Greek and Roman art, but to travel in North Africa, in search of the exotic. Friend and spiritual heir to Théodore Géricault, Delacroix was also inspired by Lord Byron, with whom he shared a strong identification with the "forces of the sublime", of nature in often violent action.
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Fanny Mendelssohn
Fanny Mendelssohn (14 November 1805 – 14 May 1847), later Fanny [Cäcilie] Mendelssohn Bartholdy and, after her marriage, Fanny Hensel, was a German pianist and composer, the sister of the composer Felix Mendelssohn and granddaughter of the philosopher Moses Mendelssohn. She was the grandmother of the philosopher Paul Hensel and the mathematician Kurt Hensel.
Fanny Mendelssohn was born in Hamburg, the oldest of four children. She was descended on both sides from distinguished Jewish families; her parents were Abraham Mendelssohn (who was the son of philosopher Moses Mendelssohn and later changed the family surname to Mendelssohn Bartholdy), and Lea, née Salomon, a granddaughter of the entrepreneur Daniel Itzig. She was not however brought up as Jewish, and never practised Judaism, though it has been suggested that she "retained the cultural values of liberal Judaism".
Fanny shared the early musical education and upbringing of her younger brother Felix, including tuition from Carl Friedrich Zelter and others. Zelter indeed at one point favoured Fanny over Felix: he wrote to Goethe in 1816, in a letter introducing Abraham Mendelssohn to the poet, 'He has adorable children and his oldest daughter could give you something of Sebastian Bach. This child is really something special'.
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Felix Draeseke
Felix August Bernhard Draeseke (October 7, 1835 – February 26, 1913) was a composer of the "New German School" admiring Liszt and Richard Wagner. He wrote compositions in most forms including eight operas and stage works, four symphonies, and much vocal and chamber music.
Felix Draeseke was born in the Franconian ducal town of Coburg, Germany. He was attracted to music early in life and wrote his first composition at age 8. He encountered no opposition from his family when, in his mid-teens, he declared his intention of becoming a professional musician. A few years at the Leipzig conservatory did not seem to benefit his development, but after one of the early performances of Wagner's Lohengrin he was won to the camp of the New German School centered around Franz Liszt at Weimar, where he stayed from 1856 (arriving just after Joachim Raff's departure) to 1861. In 1862 Draeseke left Germany and made his way to Switzerland, teaching in the Suisse Romande in the area around Lausanne. Upon his return to Germany in 1876, Draeseke chose Dresden as his place of residence. Though he continued having success in composition, it was only in 1884 that he received an official appointment to the Dresden conservatory and, with it, some financial security. In 1894, two years after his promotion to a professorship at the Royal Saxon Conservatory, at the age of 58, he married his former pupil Frida Neuhaus. In 1912 he completed his final orchestral work, the Fourth Symphony. On February 26, 1913, Draeseke suffered a stroke and died; he is buried in the Tolkewitz cemetery in Dresden.
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Felix Mendelssohn
Jakob Ludwig Felix Mendelssohn Bartholdy (German pronunciation: [ˈjaːkɔp ˈluːtvɪç ˈfeːlɪks ˈmɛndl̩szoːn baʁˈtɔldi]), born, and generally known in English-speaking countries, as Felix Mendelssohn (3 February 1809 – 4 November 1847) was a German composer, pianist, organist and conductor of the early Romantic period.
The grandson of the philosopher Moses Mendelssohn, Felix Mendelssohn was born into a prominent Jewish family, although initially he was raised without religion and was later baptised as a Lutheran Christian. Mendelssohn was recognised early as a musical prodigy, but his parents were cautious and did not seek to capitalise on his talent.
Early success in Germany, where he also revived interest in the music of Johann Sebastian Bach, was followed by travel throughout Europe. Mendelssohn was particularly well received in Britain as a composer, conductor and soloist, and his ten visits there – during which many of his major works were premiered – form an important part of his adult career. His essentially conservative musical tastes, however, set him apart from many of his more adventurous musical contemporaries such as Franz Liszt, Richard Wagner and Hector Berlioz. The Leipzig Conservatoire (now the University of Music and Theatre Leipzig), which he founded, became a bastion of this anti-radical outlook.
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Ferdinand Hiller
Ferdinand (von) Hiller (24 October 1811 – 11 May 1885) was a German composer, conductor, writer and music-director.
Ferdinand Hiller was born to a wealthy Jewish family in Frankfurt am Main, where his father Justus (originally Isaac Hildesheim) was a merchant in English textiles – a business eventually continued by Ferdinand’s brother Joseph. Hiller’s talent was discovered early and he was taught piano by the leading Frankfurt musician Alois Schmitt, violin by Hofmann, and harmony and counterpoint by Vollweiler; at 10 he performed a Mozart concerto in public; and two years later, he produced his first composition.
In 1822 the 13-year old Felix Mendelssohn entered his life. The Mendelssohn family was at that time staying briefly in Frankfurt and the young Hiller visited them where he was immensely impressed by the playing of Felix (and even more so by that of his sister Fanny Mendelssohn). When their acquaintance was renewed in 1825 the two boys found an immediate close friendship, which was to last until 1843. Hiller tactfully describes their falling out as arising from "social, and not from personal susceptibilities." But in fact it seems to have been more to do with Hiller’s succession to Mendelssohn as director of the Leipzig Gewandhaus Orchestra in 1843.
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Ferenc Erkel
Ferenc Erkel (Hungarian: Erkel Ferenc(z) Hungarian pronunciation: [ˈfɛrɛnts ˈɛrkɛl], German: Franz Erkel; November 7, 1810 – June 15, 1893) was a Hungarian composer, conductor and pianist. He was the father of Hungarian grand opera, written mainly on historical themes, which are still often performed in Hungary. He also composed the music of "Himnusz", the national anthem of Hungary, which was adopted in 1844. He died in Budapest.
Erkel was born in Gyula, a son of Joseph Erkel who was a musician. His mother was the Hungarian Klára Ruttkay. The libretti of his first four operas were written by Béni Egressy. Beside his operas, for which he is best known, he wrote pieces for piano and chorus, and a majestic Festival Overture. He acquainted Hector Berlioz with the tune of the Rákóczi March, which Berlioz used in The Damnation of Faust.
He headed the Budapest Philharmonic Orchestra (founded in 1853). He was also the director and piano teacher of the Hungarian Academy of Music until 1886. The Hungarian State Opera House in Budapest was opened in 1884, of which he was the musical director.
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France Prešeren
France Prešeren ( pronunciation (help·info)) (3 December 1800 – 8 February 1849) was a Slovene Romantic poet. He is considered the Slovene national poet.[clarification needed] Although he was not a particularly prolific author, he inspired virtually all Slovene literature thereafter.
He was born 3 December 1800 (Saturday) in the Upper Carniolan village of Vrba, then part of the Habsburg Monarchy (today in Slovenia), to a relatively well-to-do peasant family. Already as a child, he showed considerable talent, and so his parents decided to provide him with a good education. At the age of eight, he was sent to elementary schools in Grosuplje and Ribnica, run by the local Roman Catholic clergy. In 1812, he moved to the Carniolan provincial capital of Ljubljana, where he attended the State Gymnasium. Already at a very young age, he learned Latin, Ancient Greek, and German, which was then the language of education, administration, and high culture in most areas inhabited by Slovenes. In Ljubljana, Prešeren's talent was spotted by the poet Valentin Vodnik, who encouraged him to develop his literary skills in Slovene. As a high school student, he became friends with the future philologist Matija Čop, who would have an extremely important influence on the development of Prešeren's poetry. In 1821, Prešeren enrolled at the University of Vienna, where he studied law, against the wishes of his mother, who wanted him to become a priest. In Vienna, he became acquainted with the western canon from Homer to Goethe, but he was most fascinated by Dante and the Italian trecentists, especially Petrarch and Boccaccio. He also read contemporary Romantic poets, and he was even fired from a teaching post at Klinkowström's Jesuit institute for having loaned a booklet of banned poetry to his friend Anastasius Grün.
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Francesco Hayez
Francesco Hayez (February 10, 1791 – December 21, 1881) was an Italian painter, the leading artist of Romanticism in mid-19th-century Milan, renowned for his grand historical paintings, political allegories and exceptionally fine portraits.
Hayez came from a relatively poor family from Venice. His father was of French origin while his mother, Chiara Torcella, was from Murano. The child Francesco, youngest of five sons, was brought up by his mother's sister, who had married Giovanni Binasco, a well-off shipowner and collector of art. From childhood he showed a predisposition for drawing, so his uncle apprenticed him to an art restorer. Later he became a student of the painter Francesco Maggiotto with whom he continued his studies for three years. He was admitted to the painting course of the New Academy of Fine Arts in 1806, where he studied under Teodoro Matteini. In 1809 he won a competition from the Academy of Venice for one year of study at the Accademia di San Luca in Rome. He remained in Rome until 1814, then moved to Naples where he was commissioned by Joachim Murat to paint a major work depicting Ulysses at the court of Alcinous. In the mid 1830s he attended the "Salotto Maffei" salon in Milan, hosted by Clara Maffei (whose portrait Hayez painted for her husband), and he was still in Milan in 1850 when he was appointed director of the Academy of Brera there.
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Francisco Goya
Francisco José de Goya y Lucientes (Spanish pronunciation: [fɾanˈθisko xoˈse ðe ˈɣoʝa i luˈθjentes]; 30 March 1746–16 April 1828) was a Spanish romantic painter and printmaker regarded both as the last of the Old Masters and the first of the moderns. Goya was a court painter to the Spanish Crown, and through his works was both a commentator on and chronicler of his era. The subversive and imaginative element in his art, as well as his bold handling of paint, provided a model for the work of later generations of artists, notably Manet, Picasso and Francis Bacon.. In his honour, Spain's main national film awards are called the Goya Awards.
Goya was born in Fuendetodos, Aragón, Spain, in 1746 to José Benito de Goya y Franque and Gracia de Lucientes y Salvador. He spent his childhood in Fuendetodos, where his family lived in a house bearing the family crest of his mother. His father earned his living as a gilder. About 1749, the family bought a house in the city of Zaragoza and some years later moved into it. Goya may have attended school at Escuelas Pias. He formed a close friendship with Martin Zapater at this time, and their correspondence from the 1770s to the 1790s is a valuable source for understanding Goya's early career at the court of Madrid. At age 14, Goya studied under the painter José Luzán. He moved to Madrid where he studied with Anton Raphael Mengs, a painter who was popular with Spanish royalty. He clashed with his master, and his examinations were unsatisfactory. Goya submitted entries for the Royal Academy of Fine Art in 1763 and 1766, but was denied entrance.
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Franz Bendel
Franz Bendel (March 23, 1833 - July 3, 1874) was a Bohemian German pianist and composer. He was a student of Franz Liszt for five years in Weimar. Bendel was a superb pianist who toured extensively until his death from typhoid fever in Boston while on an American tour. He was born in Schönlinde, Bohemia, Austrian Empire.
From 1862, he lived in Berlin and taught at Theodor Kullak's Music Academy, Neue Akademie der Tonkunst. He was also the author of over four hundred compositions, many of them for the piano, including one piano concerto.
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Franz Berwald
Franz Adolf Berwald (July 23, 1796, Stockholm – April 3, 1868) was a Swedish Romantic composer who was generally ignored during his lifetime. He made his living as an orthopedic surgeon and later as the manager of a saw mill and glass factory.
Berwald came from a family with four generations of musicians; his father, a violinist in the Royal Opera Orchestra, taught Franz the violin from an early age; he soon appeared in concerts. In 1811, Karl XIII came to power and reinstated the Royal Chapel; the following year Berwald started working there, as well as playing the violin in the court orchestra and the opera, receiving lessons from Edouard du Puy, and also started composing. The summers were off-season for the orchestra, and Berwald travelled around Scandinavia, Finland and Russia. Of his works from that time, a septet and a serenade he still considered worthwhile music in his later years.
In 1818 Berwald started publishing the Musikalisk journal, later renamed Journal de musique, a periodical with easy piano pieces and songs by various composers as well as some of his own original work. In 1821, his Violin Concerto was premiered by his brother August. It was not well received; some people in the audience burst out laughing during the slow movement.
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Franz Hanfstaengl
Franz Seraph Hanfstaengl (1 March 1804, Baiernrain bei Bad Tölz – 18 April 1877, Munich) was a German painter, lithographer and photographer.
Hanfstaengl originated from a commoner family and in 1816 came on the recommendation of the town-school-teachers into the drawing-class of the leave-day school at Munich led by Hermann Josef Mitterer. He was instructed in lithography, he had contact with Alois Senefelder and studied from 1819 to 1825 at the Munich Academy of Fine Arts. In 1826, he went to Dresden and began his great work, completed in 1852, of copying in lithograph the canvases of the Dresden Gallery. Between 1835 and 1852 Hanfstängl brought out about 200 lithographic reproductions of masterworks from the Dresden picture-gallery, and published them in a portfolio. When he returned to Munich, he left his establishment at Dresden to his brothers Max and Hans.
In 1833 he founded in Munich a lithographic establishment of his own, which he operated until 1868, and to which he later attached a fine art printing shop and (in 1853) a photographic workshop. Hanfstaengl won for himself much popularity as the portrait lithographer of Munich society, being nicknamed 'Count Litho'. Later, he became court photographer and produced portraits of distinguished persons, amongst others of the young King Ludwig II, of Franz Liszt, Otto von Bismarck and Empress Elisabeth of Austria. In 1858 Hanfstaengl tutored renowned French photographer Antoine Samuel Adam-Salomon.
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Franz Liszt
Franz Liszt (German: [fʁant͡s lɪst]); Hungarian: Liszt Ferencz, in modern use Liszt Ferenc) (October 22, 1811 – July 31, 1886) was a 19th-century Hungarian composer, pianist, conductor, and teacher.
Liszt became renowned in Europe during the nineteenth century for his virtuosic skill as a pianist. He was said by his contemporaries to have been the most technically advanced pianist of his age. In the 1840s he was considered by some to be perhaps the greatest pianist of all time. He was also a well-known composer, piano teacher, and conductor. He was a benefactor to other composers, including Richard Wagner, Hector Berlioz, Camille Saint-Saëns, Edvard Grieg and Alexander Borodin.
As a composer, Liszt was one of the most prominent representatives of the "Neudeutsche Schule" ("New German School"). He left behind an extensive and diverse body of work in which he influenced his forward-looking contemporaries and anticipated some 20th-century ideas and trends. Some of his most notable contributions were the invention of the symphonic poem, developing the concept of thematic transformation as part of his experiments in musical form and making radical departures in harmony. He also played an important role in popularizing a wide array of music by transcribing it for piano.
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Franz Schubert
Franz Peter Schubert (German pronunciation: [ˈfʁants ˈʃuːbɛɐ̯t]; 31 January 1797 – 19 November 1828) was an Austrian composer.
Although he died at the age of 31, Schubert was a prolific composer, having written some 600 Lieder, nine symphonies (including the famous "Unfinished Symphony"), liturgical music, operas, some incidental music, and a large body of chamber and solo piano music. Appreciation of Schubert's music during his lifetime was limited, but interest in his work increased significantly in the decades following his death. Franz Liszt, Robert Schumann, Johannes Brahms and Felix Mendelssohn, among others, discovered and championed his works in the 19th century. Today, Schubert is seen as one of the leading exponents of the early Romantic era in music and he remains one of the most frequently performed composers.
Schubert was born in Himmelpfortgrund (now a part of Alsergrund), Vienna, on 31 January 1797. His father, Franz Theodor Schubert, the son of a Moravian peasant, was a parish schoolmaster; his mother, Elisabeth Vietz, was the daughter of a Silesian master locksmith, and had also been a housemaid for a Viennese family prior to her marriage. Of Franz Theodor's fourteen children (one illegitimate child was born in 1783), nine died in infancy; five survived. Their father was a well-known teacher, and his school in Lichtental, a part of Vienna's 9th district, was well attended. He was not a musician of fame or with formal training, but he taught his son some elements of music.
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Franz von Liszt
Franz Ritter von Liszt (March 2, 1851 Vienna – June 21, 1919 Berlin) was a German jurist, criminologist and international law reformer. As a legal scholar, he was a proponent of the modern sociological and historical school of law. From 1898 until 1917, he was Professor of Criminal Law and International Law at the University of Berlin and was also a member of the Progressive People's Party in the Prussian Chamber of Deputies and the Reichstag.
Franz von Liszt's father was Eduard Ritter von Liszt, a lawyer who had completed a brilliant civil service career as the head of the newly created Austrian General Prosecutor's Office. The piano virtuoso and composer Franz Liszt was Franz von Liszt's cousin and also acted as his godfather.
The Austrian title of nobility Ritter was awarded the composer Franz Liszt in 1859 by the Emperor Francis Joseph I. The composer needed the title to marry the Princess of Sayn-Wittgenstein without her losing her privileges, so he solicited the nobilitation which was conceded by the emperor in recognition of his services to Austria. After the marriage fell through, the composer transferred the title to his uncle Eduard, the father of the subject of this article, in 1867 when he received the Minor Orders of the Catholic Church. The composer actually never used the title in public.
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Friedrich Hölderlin
Johann Christian Friedrich Hölderlin (German pronunciation: [ˈjoːhan ˈkʁɪsti.aːn ˈfʁiːdʁɪç ˈhœldɐliːn]; 20 March 1770 – 7 June 1843) was a major German lyric poet, commonly associated with the artistic movement known as Romanticism. Hölderlin was also an important thinker in the development of German Idealism, particularly his early association with and philosophical influence on his seminary roommates and fellow Swabians Georg Wilhelm Friedrich Hegel and Friedrich Wilhelm Joseph Schelling.
Hölderlin was born in Lauffen am Neckar in the Duchy of Württemberg. His father, the manager of a church estate, died when the boy was two years old. He was brought up by his mother, who in 1774 married the Mayor of Nürtingen and moved there. He had a full sister, born after their father's death, and a half-brother. His stepfather died when he was nine. He went to school in Denkendorf and Maulbronn and then studied theology at the Tübinger Stift, where his fellow-students included Georg Wilhelm Friedrich Hegel, Friedrich Wilhelm Joseph Schelling (who had been a fellow-pupil at his first school) and Isaac von Sinclair.
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Friedrich Schiller
Johann Christoph Friedrich von Schiller [ˈjoːhan ˈkʁɪstɔf ˈfʁiːdʁɪç fɔn ˈʃɪlɐ] (10 November 1759 – 9 May 1805) was a German poet, philosopher, historian, and playwright. During the last seventeen years of his life (1788–1805), Schiller struck up a productive, if complicated, friendship with already famous and influential Johann Wolfgang von Goethe. They frequently discussed issues concerning aesthetics, and Schiller encouraged Goethe to finish works he left as sketches. This relationship and these discussions led to a period now referred to as Weimar Classicism. They also worked together on Xenien, a collection of short satirical poems in which both Schiller and Goethe challenge opponents to their philosophical vision.
Friedrich Schiller was born on 10 November 1759, in Marbach, Württemberg as the only son of military doctor Johann Kaspar Schiller (1733–96), and Elisabeth Dorothea Kodweiß (1732–1802). They also had five daughters. His father was away in the Seven Years' War when Friedrich was born. He was named after king Frederick the Great, but he was called Fritz by nearly everyone. Kaspar Schiller was rarely home during the war, but he did manage to visit the family once in a while. His wife and children also visited him occasionally wherever he happened to be stationed. When the war ended in 1763, Schiller's father became a recruiting officer and was stationed in Schwäbisch Gmünd. The family moved with him. Due to the high cost of living—especially the rent—the family moved to nearby Lorch.
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Fromental Halévy
Jacques-François-Fromental-Élie Halévy, usually known as Fromental Halévy (pronounced [fʁɔmɑ̃tal alevi]) (27 May 1799 – 17 March 1862), was a French composer. He is known today largely for his opera La Juive.
Halévy was born in Paris, the son of a cantor, Élie Halfon Halévy, who was the secretary of the Jewish community of Paris, a writer and a teacher of Hebrew, and a French Jewish mother. The name Fromental, by which he was generally known, reflects that he was born on the feast-day of that name in the French Revolutionary calendar, which was still operative at that time. He entered the Conservatoire de Paris at the age of nine or ten (accounts differ), in 1809, becoming a pupil and later protégé of Cherubini. After two second-place attempts, he won the Prix de Rome in 1819: his cantata subject was Herminie.
As he had to delay his departure to Rome because of the death of his mother, he was able to accept the first commission that brought him to public attention - a Marche Funèbre et De Profundis en Hébreu for three part choir, tenor and orchestra, which was commissioned by the Consistoire Israélite du Département de la Seine, for a public service in memory of the assassinated duc de Berry, performed on 24 March 1820. Later, his brother Léon recalled that the De Profundis, "infused with religious fervor, created a sensation, and attracted interest to the young laureate of the institute."
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Frédéric Chopin
Frédéric François Chopin ( /ˈʃoʊpæn/; French pronunciation: [fʁe.de.ʁik ʃɔ.pɛ̃]; Polish: Fryderyk Franciszek Chopin, also phonetically Szopen; 22 February or 1 March 1810 – 17 October 1849) was a Polish composer and virtuoso pianist of French-Polish parentage. He is considered one of the great masters of Romantic music. Chopin was born in Żelazowa Wola, a village in the Duchy of Warsaw. A renowned child-prodigy pianist and composer, Chopin grew up in Warsaw and completed his music education there; he composed many mature works in Warsaw before leaving Poland in 1830 at age 20, shortly before the November 1830 Uprising.
Following the Russian suppression of the Uprising, he settled in Paris as part of Poland's Great Emigration. During the remaining 19 years of his life, Chopin gave only some 30 public performances, preferring the more intimate atmosphere of the salon; he supported himself by sales of his compositions and as a piano teacher. After some romantic dalliances with Polish women, including an abortive engagement, from 1837 to 1847 he carried on a relationship with the French writer Amantine Dupin (pen name "George Sand"). For most of his life, Chopin suffered from poor health; he died in Paris in 1849 at age 39.
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Gaetano Donizetti
Domenico Gaetano Maria Donizetti (Italian pronunciation: [doˈmeːniko ɡaeˈtaːno maˈɾia doniˈdzetti]; 29 November 1797 – 8 April 1848) was an Italian composer from Bergamo, Lombardy. His best-known works are the operas L'elisir d'amore (1832), Lucia di Lammermoor (1835), and Don Pasquale (1843), all in Italian, and the French operas La favorite and La fille du régiment (both from 1840). Along with Vincenzo Bellini and Gioachino Rossini, he was a leading composer of bel canto opera.
The youngest of three sons, Donizetti was born in 1797 in Bergamo's Borgo Canale quarter located just outside the city walls. His family was very poor with no tradition of music, his father being the caretaker of the town pawnshop. Nevertheless, Donizetti received some musical instruction from Simon Mayr, a German composer of internationally successful operas who had become maestro di cappella at Bergamo's principal church in 1802.
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Gaspare Spontini
Gaspare Luigi Pacifico Spontini (14 November 1774 – 24 January 1851) was an Italian opera composer and conductor, extremely celebrated in his time, though largely forgotten after his death.
Born in Maiolati in the province of Ancona, now Maiolati Spontini, he spent most of his career in Paris and Berlin, but returned to his place of birth at the end of his life. During the first two decades of the 19th century, Spontini was an important figure in French opera. In his more than twenty operas, Spontini strove to adapt Gluck's classical tragédie lyrique to the contemporary taste for melodrama, for grander spectacle (in Fernand Cortez for example), for enriched orchestral timbre, and for melodic invention allied to idiomatic expressiveness of words. His single great masterpiece and success was La vestale.
As a youth, Spontini studied at the Conservatorio della Pietà de' Turchini in Naples. In 1803, he went to Paris, where he was appointed court composer in 1805.
In 1807, Spontini wrote La vestale, his best known work. Written with the encouragement of Empress Joséphine, its premiere at the Opéra in Paris established Spontini as one of the greatest Italian composers of his age. His contemporaries Cherubini and Meyerbeer considered it a masterpiece, and later composers like Berlioz and Wagner admired it.
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George Sand
Amantine (also "Amandine") Lucile Aurore Dupin (French pronunciation: [amɑ̃tin lysil oʁɔʁ dypɛ̃], later Baroness (French: baronne) Dudevant (Paris, 1 July 1804 – 8 June 1876), best known by her pseudonym George Sand (French pronunciation: [ʒɔʁʒ sɑ̃d]), was a French novelist and memoirist.
Sand's father, Maurice Dupin, was the grandson of the Marshal General of France, Maurice, Comte de Saxe, himself an illegitimate son of Augustus II the Strong, King of Poland and a Saxon elector, and a cousin to the sixth degree to the kings of France Louis XVI, Louis XVIII and Charles X. Sand's mother, Sophie-Victoire Delaborde, was a commoner. Sand was born in Paris but raised for much of her childhood by her grandmother, Marie Aurore de Saxe, Madame Dupin de Francueil, at her grandmother's estate, Nohant, in the French province of Berry (See House of George Sand). She later used the setting in many of her novels. It has been said[by whom?] that her upbringing was quite liberal.
In 1822, at the age of nineteen, Sand married Baron Casimir Dudevant (1795–1871), illegitimate son of Baron Jean-François Dudevant. She and Dudevant had two children: Maurice (1823–1889) and Solange (1828–1899). In early 1831, she left her prosaic husband and entered upon a four- or five-year period of "romantic rebellion." In 1835, she was legally separated from Dudevant and took her children with her.
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Germaine de Staël
Anne Louise Germaine de Staël-Holstein (French pronunciation: [stal]; 22 April 1766 – 14 July 1817), commonly known as Madame de Staël, was a French-speaking Swiss author living in Paris and abroad. She influenced literary tastes in Europe at the turn of the 19th century.
Anne Louise Germaine Necker was born in Paris, France. Her father was the prominent Swiss banker and statesman Jacques Necker, who was the Director of Finance under King Louis XVI of France. Her mother was Suzanne Curchod, almost equally famous for being the early love of Edward Gibbon, being the wife of Necker herself, and being the mistress of one of the most popular salons of Paris. Mother and daughter had little sympathy for each other. Mme Necker, despite her talents, her beauty and her fondness for philosophic society, was strictly decorous, somewhat reserved, and wanted to bring up her daughter with the discipline of her own childhood. Anne Louise was from her earliest years energetic and boisterous. She began very early to write, though not to publish. She was said to have injured her health by excessive study and intellectual excitement. But in reading all the accounts of Mme de Staël's life which come from herself or her intimate friends, it must be carefully remembered that she was the most distinguished and characteristic product of the period of sensibility — the singular fashion of ultra-sentimentalism — which required that both men and women, but especially women, should be always palpitating with excitement, steeped in melancholy, or dissolved in tears. Still, her father's dismissal from the ministry and the consequent removal of the family from the busy life of Paris were probably beneficial to her.
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Giacomo Leopardi
Giacomo Taldegardo Francesco di Sales Saverio Pietro Leopardi (Italian pronunciation: [ˈdʒakomo leoˈpardi]; June 29, 1798 – June 14, 1837) was an Italian poet, essayist, philosopher, and philologist. Although he lived in a secluded town in the ultra-conservative Papal States, he came in touch with the main thoughts of the Enlightenment, and, by his own literary evolution, created a remarkable and renowned poetic work, related to the Romantic era.
Giacomo Leopardi was born of a local noble family in Recanati, in the Marche, at the time ruled by the papacy. His father, the count Monaldo Leopardi, was a good-hearted man, fond of literature but weak and reactionary, who remained bound to antiquated ideas and prejudices; his mother, the marquise Adelaide Antici Mattei, was a cold and authoritarian woman, obsessed over rebuilding the family's financial fortunes, which had been destroyed by Monaldo's gambling addiction. At home, a rigorous discipline of religion and savings reigned. However, Giacomo's happy childhood, which he spent with his younger brother Carlo Orazio and his sister Paolina, left its mark on the poet, who recorded his experiences in the poem Le Ricordanze.
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Giacomo Meyerbeer
Giacomo Meyerbeer (5 September 1791 – 2 May 1864) was a noted German opera composer, and the first great exponent of "grand opera." At his peak in the 1830s and 1840s, he was the most famous and successful composer of opera in Europe, yet he is rarely performed today.
He was born to a Jewish family in Tasdorf (now a part of Rüdersdorf), near Berlin with the name Jacob Liebmann Beer. His father was the enormously wealthy financier Jacob Judah Herz Beer (1769-1825) and his much-beloved mother, Amalia Liebmann Meyer Wulff (1767-1854) also came from the wealthy elite. Their other children included the astronomer Wilhelm Beer and the poet Michael Beer.
Beer's first keyboard instructor was Franz Lauska, a pupil of Johann Georg Albrechtsberger and a favoured teacher at the Berlin court. Beer also became one of Muzio Clementi's pupils while Clementi was in Berlin, and old Clementi himself, although he had long given up teaching, was so much struck, during a visit to Berlin, with the promise displayed in the boy's performance as to consent to give Beer lessons. Beer made his public debut in 1801 playing Mozart's D minor Piano Concerto in Berlin. The Allgemeine musikalische Zeitung reported: 'The amazing keyboard playing of young Bär (a Jewish lad of 9), who carried off the difficult passages and other solo parts with aplomb, and has fine powers of rendition even more rarely found in one of his age, made the concert even more interesting'.
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Gioachino Rossini
Gioachino Antonio Rossini (Italian pronunciation: [dʒoaˈkiːno anˈtɔːnjo rosˈsiːni] (Giovacchino Antonio Rossini in the baptismal certificate) (29 February 1792 – 13 November 1868) was an Italian composer who wrote 39 operas as well as sacred music, chamber music, songs, and some instrumental and piano pieces. His best-known operas include the Italian comedies Il barbiere di Siviglia (The Barber of Seville) and La Cenerentola and the French-language epics Moïse et Pharaon and Guillaume Tell (William Tell). A tendency for inspired, song-like melodies is evident throughout his scores, which led to the nickname "The Italian Mozart". Until his retirement in 1829, Rossini had been the most popular opera composer in history.
Gioachino Antonio Rossini was born into a family of musicians in Pesaro, a town on the Adriatic coast of Italy which was then part of the Papal States. His father, Giuseppe, was a horn player and inspector of slaughterhouses. His mother, Anna, was a singer and a baker's daughter. Rossini's parents began his musical training early, and by the age of six he was playing the triangle in his father's musical group.
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Giovanni Sgambati
Giovanni Sgambati (May 28, 1841, Rome – December 14, 1914, Rome) was an Italian composer.
Born to an Italian father and an English mother, Sgambati, who lost his father early, received his early education at Trevi, in Umbria, where he wrote some church music and obtained experience as a singer and conductor. In 1860 he settled in Rome, and took up the work of winning acceptance for the best German music, then little known in Italy. The influence and support of Franz Liszt, who was in Rome from 1861, was naturally of the greatest advantage to him, and concerts were given in which Sgambati conducted as well as played the piano.
His compositions at this period (1864–1865) included a quartet, two piano quintets, an octet, and an overture. He conducted Liszt's Dante Symphony in 1866, and made the acquaintance of Richard Wagner's music for the first time at Munich, whither he travelled in Liszt's company. His first album of songs appeared in 1870 (Schott Music), and his first symphony was played at the Palazzo del Quirinale in 1881; this, as well as a piano concerto, was performed in the course of his first visit to England in 1882; and at his second visit, in 1891, his Sinfonia epitalamio was given at the Philharmonic.
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Giuseppe Verdi
Giuseppe Fortunino Francesco Verdi (Italian pronunciation: [dʒuˈzɛppe ˈverdi]; 10 October 1813 – 27 January 1901) was an Italian Romantic composer, mainly of opera. He was one of the most influential composers of the 19th century. His works are frequently performed in opera houses throughout the world and, transcending the boundaries of the genre, some of his themes have long since taken root in popular culture – such as "La donna è mobile" from Rigoletto, "Va, pensiero" (The Chorus of the Hebrew Slaves) from Nabucco, "Libiamo ne' lieti calici" (The Drinking Song) from La traviata and the "Grand March" from Aida.
Verdi’s masterworks dominate the standard opera repertoire a century and a half after their composition.
Verdi was born the son of Carlo Giuseppe Verdi and Luigia Uttini in Le Roncole, a village near Busseto, then in the Département Taro which was a part of the First French Empire after the annexation of the Duchy of Parma and Piacenza. The baptismal register, on 11 October lists him as being "born yesterday", but since days were often considered to begin at sunset, this could have meant either 9 or 10 October. The next day, he was baptized in the Roman Catholic Church in Latin as Joseph Fortuninus Franciscus. The day after that (Tuesday), Verdi's father took his newborn the three miles to Busseto, where the baby was recorded as Joseph Fortunin François; the clerk wrote in French. "So it happened that for the civil and temporal world Verdi was born a Frenchman."
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Gonçalves Dias
Antônio Gonçalves Dias (Portuguese pronunciation: [ɡõˈsawvis ˈdʒiɐs]; August 10, 1823 — November 3, 1864) was a Brazilian Romantic poet, playwright and linguist. A major exponent of the Brazilian Romanticism and of the literary tradition known as "Indianism", he is famous for writing the poem "Canção do exílio", arguably the most well-known poem of the Brazilian literature, the short epic poem I-Juca-Pirama, and many other nationalist and patriotic poems that would later give him the title of national poet of Brazil. He was also an avid researcher of the Brazilian indigenous languages and folklore.
He is the patron of the 15th chair of the Brazilian Academy of Letters.
Antônio Gonçalves Dias was born in Caxias on August 10, 1823, to Portuguese João Manuel Gonçalves Dias and cafuza Vicência Ferreira. After completing his studies in Latin, French and Philosophy, he went in 1838 to Portugal to earn a degree in Law at the University of Coimbra. There, he got in contact with the Romantic ideals and wrote his critically acclaimed poem "Canção do exílio". He graduated in 1845 and returned to Brazil in the same year. He goes to Rio de Janeiro, living there until 1854. There, he wrote the drama Leonor de Mendonça in 1846 and his first poetry book, Primeiros Cantos, in 1847.
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Gustav Schwab
Gustav Benjamin Schwab (19 June 1792 – 4 November 1850) was a German writer, pastor and publisher.
Gustav Schwab was born in Stuttgart, the son of a professor and was introduced to the humanities early in life. After attending Gymnasium Illustre, he studied as a scholar of Tübinger Stift at Eberhard Karls University of Tübingen, his first two years studying Philology and Philosophy, and thereafter Theology. While at university he established a literary club and became a close friend of Ludwig Uhland, Karl Varnhagen and Justinus Kerner, with whom he published a collection of poems under the title Deutscher Dichterwald.
In the spring of 1813, he made a journey to northern Germany, where he met Johann Wolfgang von Goethe, Friedrich Schleiermacher, Friedrich Rückert, Friedrich de la Motte Fouqué, Adelbert von Chamisso and others. In 1818 he became a high school teacher in Stuttgart, and in 1837 he started work as a pastor in Gomaringen, near Tübingen. In 1841, he moved back to Stuttgart, where he was first pastor and then from 1845 educational counselor for Stuttgart's high school system. In 1847 he received an honorary Doctorate from his old university.
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Gyula Andrássy
Gyula Count Andrássy de Csíkszentkirály et Krasznahorka (3 March 1823 – 18 February 1890) was a Hungarian statesman, who served as Prime Minister of Hungary (1867–1871) and subsequently as Foreign Minister of Austria-Hungary (1871–1879). He was sometimes called Count Julius Andrassy in English.
The son of Count Károly Andrássy and Etelka Szapáry, he was born in Oláhpatak (now in Rožňava District, Slovakia), Kingdom of Hungary. The son of a liberal father who belonged to the political opposition, at a time when to be in oppose the government was very dangerous, Andrássy at a very early age threw himself into the political struggles of the day, adopting at the outset the patriotic side.
Count István Széchenyi was the first adequately to appreciate his capacity, when in 1845 the young man first began his public career as president of the society for the regulation of the waters of the Upper Tisza river.
In 1846, he attracted attention by his bitter articles against the government in Lajos Kossuth's paper, the Pesti Hírlap, and was returned as one of the Radical candidates to the diet of 1848, where his generous, impulsive nature made him one of the most thorough-going of the patriots.
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Gérard de Nerval
Gérard de Nerval (French pronunciation: [ʒeʁaʁ də nɛʁval]) was the nom-de-plume of the French poet, essayist and translator Gérard Labrunie, one of the most essentially Romantic French poets.
Two years after his birth in Paris, his mother died in Silesia while accompanying her husband, a military doctor, a member of Napoleon's Grande Armée. He was brought up by his maternal great-uncle, Antoine Boucher, in the countryside of Valois at Mortefontaine. On the return of his father from war during 1814, he was sent back to Paris. He frequently returned to the countryside of Valois during holidays and later returned to it in imagination in his Chansons et légendes du Valois.
His talent for translation was made manifest in his translation of Goethe's Faust (1828), the work which earned him his reputation; Goethe praised it, and Hector Berlioz later used sections for his legend-symphony La damnation de Faust. Other translations from Goethe ensued; in the 1840s, Nerval's translations introduced Heinrich Heine's poems to French readers of the Revue des deux mondes. During the 1820s at college he became lifelong friends with Théophile Gautier and later joined Alexandre Dumas, père in the Petit Cénacle, in what was an exceedingly bohemian set, which was ultimately to become the Club des Hashischins. Nerval's poetry is characterized by Romantic deism. His passion for the 'spirit world' was matched by a decidedly more negative view of the material one: "This life is a hovel and a place of ill-repute. I'm ashamed that God should see me here." Among his admirers was Victor Hugo.
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Hans Gude
Hans Fredrik Gude (March 13, 1825 – August 17, 1903) was a Norwegian romanticist painter and is considered along with Johan Christian Dahl to be one of Norway's foremost landscape painters. He has been called a mainstay of Norwegian National Romanticism. He is associated with the Düsseldorf school of painting.
Gude's artistic career was not one marked with drastic change and revolution, but was instead a steady progression that slowly reacted to general trends in the artistic world. Gude's early works are of idyllic, sun-drenched Norwegian landscapes which present a romantic, yet still realistic view of his country. Around 1860 Gude began painting seascapes and other coastal subjects. Gude had difficulty with figure drawing initially and so collaborated with Adolph Tidemand in some of his painting, drawing the landscape himself and allowing Tidemand to paint the figures. Later Gude would work specifically on his figures while at Karlsruhe, and so began populating his paintings with them. Gude initially painted primarily with oils in a studio, basing his works on studies he'd done earlier in the field. However, as Gude matured as a painter he began to paint en plein air and espoused the merits of doing so to his students. Gude would go on to work with watercolors later in life as well as gouache in an effort to keep his art constantly fresh and evolving, and although these were never as well received by the public as his oil paintings, his fellow artists greatly admired them.
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Hans von Bülow
Hans Guido Freiherr von Bülow (January 8, 1830 – February 12, 1894) was a German conductor, virtuoso pianist, and composer of the Romantic era. He was one of the most famous conductors of the 19th century, and his activity was critical for establishing the successes of several major composers of the time, including Richard Wagner.
Bülow was born in Dresden, and from the age of nine he was a student of Friedrich Wieck (the father of Clara Schumann). However, his parents insisted that he study law instead of music, and sent him to Leipzig. There he met Franz Liszt, and on hearing some music of Richard Wagner—specifically, the premiere of Lohengrin in 1850—he decided to ignore the dictates of his parents and make himself a career in music instead. He studied the piano in Leipzig with the famous pedagogue Louis Plaidy. He obtained his first conducting job in Zurich, on Wagner's recommendation, in 1850.
Notoriously tactless, Bülow alienated many musicians with whom he worked. He was dismissed from his Zurich job for this reason, but at the same time he was beginning to win renown for his ability to conduct new and complex works without a score. In 1851 he became a student of Liszt, marrying Liszt's daughter Cosima in 1857. They had two daughters: Daniela, born in 1860 and Blandine, born in 1863. During the 1850s and early 1860s he was active as a pianist, conductor, and writer, and became well-known throughout Germany as well as Russia. In 1857 he premiered Liszt's great Piano Sonata in B minor in Berlin.
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Hector Berlioz
Hector Berlioz (pronounced: [ɛktɔʁ bɛʁˈljoːz]; 11 December 1803 – 8 March 1869) was a French Romantic composer, best known for his compositions Symphonie fantastique and Grande messe des morts (Requiem). Berlioz made significant contributions to the modern orchestra with his Treatise on Instrumentation. He specified huge orchestral forces for some of his works; as a conductor, he performed several concerts with more than 1,000 musicians. He also composed around 50 songs. His influence was critical for the further development of Romanticism, especially in composers like Richard Wagner, Nikolai Rimsky-Korsakov, Franz Liszt, Richard Strauss, Gustav Mahler and many others.
Hector Berlioz was born in France at La Côte-Saint-André in the département of Isère, near Grenoble. His father, a respected provincial physician and scholar, was responsible for much of the young Berlioz's education. His father, Louis-Joseph Berlioz, was an atheist, with a liberal outlook; his mother, Marie-Antoinette, was an orthodox Roman Catholic. He had five siblings in all, three of whom did not survive to adulthood. The other two, Nanci and Adèle, remained close to Berlioz throughout his life.
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Heinrich Heine
Christian Johann Heinrich Heine (13 December 1797 – 17 February 1856) was one of the most significant German poets of the 19th century. He was also a journalist, essayist, and literary critic. He is best known outside Germany for his early lyric poetry, which was set to music in the form of Lieder (art songs) by composers such as Robert Schumann and Franz Schubert. Heine's later verse and prose is distinguished by its satirical wit and irony. His radical political views led to many of his works being banned by German authorities. Heine spent the last 25 years of his life as an expatriate in Paris.
Heine was born in Düsseldorf, Rhineland, into a Jewish family. He was called "Harry" as a child, but became "Heinrich" after his conversion to Christianity in 1825. Heine's father, Samson Heine (1764–1828), was a textile merchant. His mother Peira (known as "Betty"), née van Geldern (1771–1859), was the daughter of a physician. Heinrich was the eldest of the four children; his siblings were Charlotte, Gustav - who later became Baron Heine-Geldern and publisher of the Viennese newspaper Das Fremdenblatt - and Maximilian, later a physician in Saint Petersburg.
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Heinrich Marschner
Heinrich August Marschner (Zittau, 16 August 1795 – Hanover, 16 December 1861), was the most important composer of German Romantic opera between Carl Maria von Weber and Richard Wagner, and is remembered principally for his operas Hans Heiling (1833), Der Vampyr (1828), and Der Templer und die Jüdin (1829). Marschner’s ability to depict supernatural horror by musical means is especially evident in the first two operas as well as in some of his ballads, such as "Die Monduhr" (c. 1839). Next to his operas, his most significant musical contribution is to the Lied, the best of which are comparable with those by Carl Loewe. Marschner also wrote a considerable amount of chamber music, including seven piano trios, as well as unaccompanied male choruses that were very popular in the nineteenth century. While Marschner’s operas strongly influenced Wagner, his chamber music, songs, and his cantata Klänge aus Osten (1842) were admired by Robert Schumann, whose cantata Paradise and the Peri (1843) shows the older composer’s influence. Marschner’s Bagatelles for guitar (1814) have been revived by guitarists, and so have been some of his piano trios. Among his operas, Hans Heiling and especially Der Vampyr have been adapted and revived in recent years with considerable success.
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Heinrich von Kleist
Bernd Heinrich Wilhelm von Kleist (18 October 1777 – 21 November 1811) was a poet, dramatist, novelist and short story writer. The Kleist Prize, a prestigious prize for German literature, is named after him.
Kleist was born into the von Kleist family in Frankfurt an der Oder in the Margraviate of Brandenburg. After a scanty education, he entered the Prussian Army in 1792, served in the Rhine campaign of 1796, and retired from the service in 1799 with the rank of lieutenant. He studied law and philosophy at the Viadrina University and in 1800 received a subordinate post in the Ministry of Finance at Berlin.
In the following year, Kleist's roving, restless spirit got the better of him, and procuring a lengthened leave of absence he visited Paris and then settled in Switzerland. Here he found congenial friends in Heinrich Zschokke and Ludwig Friedrich August Wieland (d. 1819), son of the poet Christoph Martin Wieland; and to them he read his first drama, a gloomy tragedy, The Schroffenstein Family (1803, originally entitled The Ghonorez Family).
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Henry Fuseli
Henry Fuseli (German: Johann Heinrich Füssli) (February 7, 1741 – April 17, 1825) was a British painter, draughtsman, and writer on art, of Swiss origin.
Fuseli was born in Zürich, Switzerland, the second of eighteen children. His father was Johann Caspar Füssli, a painter of portraits and landscapes, and author of Lives of the Helvetic Painters. He intended Henry for the church, and sent him to the Caroline college of Zurich, where he received an excellent classical education. One of his schoolmates there was Johann Kaspar Lavater, with whom he became close friends.
After taking orders in 1761 Fuseli was forced to leave the country as a result of having helped Lavater to expose an unjust magistrate, whose powerful family sought revenge. He first travelled through Germany, and then, in 1765, visited England, where he supported himself for some time by miscellaneous writing. Eventually, he became acquainted with Sir Joshua Reynolds, to whom he showed his drawings. Following Sir Joshua's advice he devoted himself wholly to art. In 1770 he made an art-pilgrimage to Italy, where he remained till 1778, changing his name from Füssli to Fuseli, because it was more Italian-sounding.
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Hugh Macdonald
Hugh Macdonald (born 31 Jan. 1940, Newbury, Berkshire) is an English musicologist chiefly known for his work within the music of the 19th century, especially in France. He has been general editor of the Hector Berlioz: New Edition of the Complete Works since its inception in 1967 and has been particularly active in the revival of interest in Berlioz's music. He is also the author of several entries within the Grove Dictionary of Music and Musicians.
Macdonald studied under Raymond Leppard at the University of Cambridge from 1958–1966. He went on to pursue doctoral studies, earning a Ph.D. in 1969 from Cambridge after researching the music of Berlioz for a dissertation consisting of a critical edition of Les Troyens. He served on the faculty of music at Cambridge from 1966 to 1971 and on the music faculty at University of Oxford from 1971 to 1980. He became the Gardiner Professor of Music at Glasgow University in 1980, where he remained until 1987, when he was appointed Avis Blewett Professor of Music at Washington University in St. Louis.
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Humphrey Searle
Humphrey Searle (26 August 1915 – 12 May 1982) was a British composer.
He was born in Oxford where he was a classics scholar before studying — somewhat hesitantly — with John Ireland at the Royal College of Music in London, after which he went to Vienna on a six month scholarship to become a private pupil of Anton Webern, which became decisive in his composition career.
Searle was one of the foremost pioneers of serial music in the United Kingdom, and used his role as a producer at the BBC from 1946 to 1948 to promote it. He was General Secretary of the International Society for Contemporary Music from 1947 to 1949.
Works of note include a Poem for 22 Strings (1950), premiered at Darmstadt, a Gogol opera, The Diary of a Madman (1958, awarded the first prize at UNESCO’s International Rostrum of Composers in 1960), and five symphonies (the first of which was commercially recorded by Sir Adrian Boult).
Searle wrote the monographs Twentieth Century Counterpoint and The Music of Franz Liszt. He also developed the most authoritative catalogue of Liszt's works, which are frequently identified using Searle's numbering system.
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Ignaz Moscheles
(Isaac) Ignaz Moscheles (23 May 1794 – 10 March 1870) was a Bohemian composer and piano virtuoso, whose career after his early years was based initially in London, and later at Leipzig, where he succeeded his friend and sometime pupil Felix Mendelssohn as head of the Conservatoire.
Much of what we know about Moscheles's life is derived from the edition of his diaries prepared by his wife, Charlotte, after his death, and published in 1874. This edition also gives lively portraits of his era and of his musical contemporaries. Unfortunately however the diaries themselves have since gone missing, although they may perhaps rematerialise. Another important source is the correspondence between Moscheles and Mendelssohn, preserved at the Brotherton Collection at the University of Leeds, and published in 1888 by Ignaz's son (and Felix Mendelssohn's god-son), Felix Moscheles.
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István Orosz
István Orosz (b. 24 October 1951; Kecskemét) Hungarian painter, printmaker, graphic designer and animated film director, is known for his mathematically inspired works, impossible objects, optical illusions, double-meaning images and anamorphoses. The geometric art of István Orosz, with forced perspectives and optical illusions, has been compared to works by M. C. Escher.
Studied at the Hungarian University of Arts and Design (now Moholy-Nagy University of Art and Design) in Budapest as pupil of István Balogh and Ernő Rubik. After graduating in 1975 he began to deal with theatre as stage designer and animated film as animator and film director. He is known as painter, printmaker, poster designer, and illustrator as well. He likes to use visual paradox, double meaning images and illusionistic approaches while following traditional printing techniques such as woodcutting and etching. He also tries to renew the technique of anamorphosis. He is a regular participant in the major international biennials of posters and graphic art and his works has been shown in individual and group exhibitions in Hungary and abroad. Film director at the PannóniaFilm Studio in Budapest, Habil. professor at University of West Hungary in Sopron, co-founder of Hungarian Poster Association, member of Alliance Graphique International (AGI) and Hungarian Art Academie. He often uses OYTIΣ, or Utisz, (pronounced: outis) (No one) as artist's pseudonym.
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István Thomán
István Thomán (Hungarian pronunciation: [ˈiʃtvaːn ˈtomaːn]) (4 November 1862 – 22 September 1940) was a Hungarian piano virtuoso and music educator. He was a notable piano teacher, with students including Béla Bartók, Ernő Dohnányi and Georges Cziffra. His six-volume Technique of Piano Playing is still in use today.
Thomán was born in Homonna, Kingdom of Hungary, in 1862 to Jewish parents, Dr. David Thomán and Rosa Weisberger. Recognized for his talent, he became a favorite student of Franz Liszt. Liszt appointed him to teach at the Royal Hungarian Academy of Music in Budapest, but had to retire suddenly at the age of 45.
Thomán toured with Liszt, was present at his death, and was a pallbearer at his funeral. Thomán, along with fellow Liszt student Árpád Szendy, were important in carrying on the Liszt style through their teaching at the Royal Hungarian Academy of Music.
As a teacher at the Royal Academy, Thomán took on a 17 year old Ernő Dohnányi as a student in 1894. In 1903, a 21 year old Béla Bartók dedicated his Study for the Left Hand to Thomán. The study is a Sonata performed entirely with one hand.
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Jan Potocki
Count Jan Nepomucen Potocki (Polish pronunciation: [ˈjan pɔˈtɔt͡skʲi]; March 8, 1761 – December 1815) was a Polish nobleman, Polish Army Captain of Engineers, ethnologist, Egyptologist, linguist, traveler, adventurer and popular author of the Enlightenment period, whose life and exploits made him a legendary figure in his homeland. Outside Poland he is known chiefly for his novel, The Manuscript Found in Saragossa.
Jan Nepomucen Potocki was born into the Potocki aristocratic family, that owned vast estates across Poland. He was educated in Geneva and Lausanne, served twice in the Polish Army as a captain of engineers, and spent some time on a galley as novice to the Knights of Malta. His colorful life took him across Europe, Asia and North Africa, where he embroiled himself in political intrigues, flirted with secret societies, contributed to the birth of ethnology — he was one of the first to study the precursors of the Slavic peoples from a linguistic and historical standpoint.
In 1790 he became the first person in Poland to fly in a hot air balloon when he made an ascent over Warsaw with the aeronaut Jean-Pierre Blanchard, an exploit that earned him great public acclaim. He spend some time in France, and upon his return to Poland, he became a known publicist, publishing newspapers and pamphlets, in which he argued for various reforms. He also established in 1788 in Warsaw a publishing house named Drukarnia Wolna (Free Press) as well as the city's first free reading room. His relation with the King Stanisław II August was thorny, as Potocki, while often supportive of the King, on occasion did not shy from his critique. He was highly critical of the Russian ambassador, Otto Magnus von Stackelberg.
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Jan Václav Voříšek
Jan Václav Hugo Voříšek (Czech pronunciation: [jan ˈvaːt͡slaf ˈɦuɡo ˈvor̝iːʃɛk]; Johann Hugo Worzischek, 11 May 1791, Vamberk, Bohemia - 19 November 1825, Vienna, Austria), was a Czech composer of classical music, pianist, and organist.
Voříšek was born in the town of Vamberk where his father was the schoolmaster, choirmaster and organist. A child prodigy, he started to perform publicly in Bohemian towns at the age of nine. His father taught him music, encouraged his playing the piano, helped him get a scholarship to attend the University of Prague where he studied philosophy. He also had lessons in piano and composition from Tomášek. He found it impossible to obtain sufficient work as a musician in Prague, so in 1813 at the age of 22 Voříšek moved to Vienna to study law and, he hoped, to meet Beethoven. In Vienna he was able to greatly improve his piano technique under the guidance of Hummel, but once more failed to gain full time employment as a musician.
Although Voříšek was enthralled by the classical music of Mozart, he was more intrigued by the romanticism of Ludwig van Beethoven.
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Jean Paul
Jean Paul (21 March 1763 – 14 November 1825), born Johann Paul Friedrich Richter, was a German Romantic writer, best known for his humorous novels and stories.
Jean Paul was born at Wunsiedel, in the Fichtelgebirge mountains (Bavaria). His father was an organist at Wunsiedel. In 1765 his father became a pastor at Joditz near Hof, and in 1767 at Schwarzenbach, but he died on 25 April 1779, leaving the family in great poverty. After attending the Gymnasium at Hof, Jean Paul went in 1781 to the University of Leipzig. His original intention was to enter his father's profession, but theology did not interest him, and he soon devoted himself wholly to the study of literature. Unable to maintain himself at Leipzig he returned in 1784 to Hof, where he lived with his mother. From 1787 to 1789 he served as a tutor at Töpen, a village near Hof; and from 1790 to 1794 he taught the children of several families in a school he had founded in nearby Schwarzenbach.
Jean Paul began his career as a man of letters with Grönländische Prozesse ("Greenland Lawsuits", published anonymously in Berlin) and Auswahl aus des Teufels Papieren ("Selections from the Devil's Papers", signed J. P. F. Hasus), the former of which was issued in 1783-84, the latter in 1789. These works were not received with much favour, and in later life Richter himself had little sympathy for their satirical tone. A spiritual crisis he suffered on 15 November 1790, in which he had a vision of his own death, altered his outlook profoundly. His next book, Die unsichtbare Loge ("The Invisible Lodge"), a romance published in 1793 under the pen-name Jean Paul (in honour of Jean Jacques Rousseau), had all the qualities that were soon to make him famous, and its power was immediately recognized by some of the best critics of the day.
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Joan of Arc
Joan of Arc, nicknamed "The Maid of Orléans" (French: Jeanne d'Arc,IPA: [ʒan daʁk]; ca. 1412 – 30 May 1431), is a folk heroine of France and a Roman Catholic saint. A peasant girl born in what is now eastern France who claimed divine guidance, she led the French army to several important victories during the Hundred Years' War, which paved the way for the coronation of Charles VII of France. She was captured by the Burgundians, transferred to the English in exchange for money, put on trial by the pro-English Bishop of Beauvais Pierre Cauchon for charges of "insubordination and heterodoxy," and was burned at the stake for heresy when she was only 19 years old.
Twenty-five years after her execution, an inquisitorial court authorized by Pope Callixtus III examined the trial, pronounced her innocent, and declared her a martyr. Joan of Arc was beatified in 1909 and canonized in 1920. She is – along with St. Denis, St. Martin of Tours, St. Louis IX, and St. Theresa of Lisieux – one of the patron saints of France. Joan said that she had visions from God that instructed her to recover her homeland from English domination late in the Hundred Years' War. The uncrowned King Charles VII sent her to the siege of Orléans as part of a relief mission. She gained prominence when she overcame the dismissive attitude of veteran commanders and lifted the siege in only nine days. Several additional swift victories led to Charles VII's coronation at Reims and settled the disputed succession to the throne.
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Johan Christian Dahl
Johan Christian Claussen Dahl (February 24, 1788 – October 14, 1857), often known as J. C. Dahl, was a Norwegian artist who is considered the first great romantic painter in Norway, the founder of the "golden age" of Norwegian painting, and one of the great European artists of all time. He is often described as "the father of Norwegian landscape painting" and is regarded as the first Norwegian Painter ever to reach a level of artistic accomplishment comparable to that attained by the greatest European artists of his day. He was also the first acquire genuine fame and cultural renown abroad. As one critic has put it, "J.C. Dahl occupies a central position in Norwegian artistic life of the first half of the 19th century.
Although Dahl spent much of his life outside of Norway, his love for his country is clear in the motifs he chose for his paintings and in his extraordinary efforts on behalf of Norwegian culture generally. Indeed, if one sets aside his own monumental artistic creations, his other activities on behalf of art, history, and culture would still have guaranteed him a place at the very heart of the artistic and cultural history of Norway. He was, for example, a key figure in the founding of the Norwegian National Gallery and of several other major art institutions in Norway, as well as in the preservation of Norwegian stave churches and the restoration of the Nidaros Cathedral in Trondheim and Håkonshallen in Bergen.
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John Clare
John Clare (13 July 1793 – 20 May 1864) was an English poet, the son of a farm labourer, who came to be known for his celebratory representations of the English countryside and his lamentation of its disruption. His poetry underwent a major re-evaluation in the late 20th century and he is often now considered to be among the most important 19th-century poets. His biographer Jonathan Bate states that Clare was "the greatest labouring-class poet that England has ever produced. No one has ever written more powerfully of nature, of a rural childhood, and of the alienated and unstable self".
Clare was born in Helpston, six miles to the north of the city of Peterborough. In his life time, the village was in the Soke of Peterborough in Northamptonshire and his memorial calls him "The Northamptonshire Peasant Poet". Helpston now lies in the Peterborough unitary authority of Cambridgeshire.
He became an agricultural labourer while still a child; however, he attended school in Glinton church until he was twelve. In his early adult years, Clare became a pot-boy in the Blue Bell public house and fell in love with Mary Joyce; but her father, a prosperous farmer, forbade her to meet him. Subsequently he was a gardener at Burghley House. He enlisted in the militia, tried camp life with Gypsies, and worked in Pickworth as a lime burner in 1817. In the following year he was obliged to accept parish relief. Malnutrition stemming from childhood may be the main culprit behind his 5-foot stature and may have contributed to his poor physical health in later life.[citation needed]
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John Constable
John Constable (11 June 1776 – 31 March 1837) was an English Romantic painter. Born in Suffolk, he is known principally for his landscape paintings of Dedham Vale, the area surrounding his home—now known as "Constable Country"—which he invested with an intensity of affection. "I should paint my own places best", he wrote to his friend John Fisher in 1821, "painting is but another word for feeling".
His most famous paintings include Dedham Vale of 1802 and The Hay Wain of 1821. Although his paintings are now among the most popular and valuable in British art, he was never financially successful and did not become a member of the establishment until he was elected to the Royal Academy at the age of 52. He sold more paintings in France than in his native England.
John Constable was born in East Bergholt, a village on the River Stour in Suffolk, to Golding and Ann (Watts) Constable. His father was a wealthy corn merchant, owner of Flatford Mill in East Bergholt and, later, Dedham Mill in Essex. Golding Constable also owned his own small ship, The Telegraph, which he moored at Mistley on the Stour estuary and used to transport corn to London. He was a cousin of the London tea merchant, Abram Newman. Although Constable was his parents' second son, his older brother was mentally handicapped and so John was expected to succeed his father in the business, and after a brief period at a boarding school in Lavenham, he was enrolled in a day school in Dedham. Constable worked in the corn business after leaving school, but his younger brother Abram eventually took over the running of the mills.
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John Keats
John Keats ( /ˈkiːts/; 31 October 1795 – 23 February 1821) was an English Romantic poet. He was one of the main figures of the second generation of romantic poets along with Lord Byron and Percy Bysshe Shelley, despite his work only having been in publication for four years before his death.
Although his poems were not generally well received by critics during his life, his reputation grew after his death, so that by the end of the 19th century he had become one of the most beloved of all English poets. He had a significant influence on a diverse range of later poets and writers. Jorge Luis Borges stated that his first encounter with Keats was the most significant literary experience of his life.
The poetry of Keats is characterized by sensual imagery, most notably in the series of odes. Today his poems and letters are some of the most popular and most analyzed in English literature.
John Keats was born on 31 October 1795 to Thomas and Frances Jennings Keats. Keats and his family seemed to have marked his birthday on 29 October, however baptism records give the birth date as the 31st. He was the eldest of four surviving children; George (1797–1841), Thomas (1799–1818) and Frances Mary "Fanny" (1803–1889). Another son was lost in infancy. John was born in central London although there is no clear evidence of the exact location. His father first worked as a hostler at the stables attached to the Swan and Hoop inn, an establishment he later managed and where the growing family lived for some years. Keats believed that he was born at the inn, a birthplace of humble origins, but there is no evidence to support this. The Keats at the Globe pub now occupies the site, a few yards from modern day Moorgate station. He was baptised at St Botolph-without-Bishopsgate and sent to a local dame school as a child.
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Josef Danhauser
Josef Danhauser (August 19, 1805, Laimgrube (now a part of Mariahilf or Neubau) – May 4, 1845) was an Austrian painter, one of the main artists of Biedermeier period, together with Ferdinand Georg Waldmüller, Peter Fendi, among others. His works, not very appreciated in his days, dealt with very moralising subjects and had a clear influence of William Hogarth.
Joseph Danhauser was born in Vienna in 1805, the eldest son of sculptor and furniture manufacturer Joseph Ulrich Danhauser and his wife Johanna (née Lambert).
He took his first painting lessons with his father and later assisted the Vienna Academy of Fine Arts. He studied with Johann Peter Krafft and made his first exhibition 1826.
Invited by Johann Ladislaus Pyrker, patriarch of Venice, he visited the city of Doges, where he started to study the Italian masters. He came back to Vienna via Trieste in 1827, visiting Prague. That very year he painted Ludwig van Beethoven's death mask, roughly 12 hours after his death and a water-colour representing his deathbed. In 1828, he spent some time in Eger, with an invitation of this Hungarian city archbishop Pyrker. He solicited him for some pictures for the gallery of the Archdiocese.
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Joseph Haydn
Franz Joseph Haydn ( /ˈdʒoʊzəf ˈhaɪdən/; German pronunciation: [ˈjoːzɛf ˈhaɪdən] ( listen); 31 March 1732 – 31 May 1809), known as Joseph Haydn, was an Austrian composer, one of the most prolific and prominent composers of the Classical period. He is often called the "Father of the Symphony" and "Father of the String Quartet" because of his important contributions to these forms. He was also instrumental in the development of the piano trio and in the evolution of sonata form.
A lifelong resident of Austria, Haydn spent much of his career as a court musician for the wealthy Esterházy family on their remote estate. Isolated from other composers and trends in music until the later part of his long life, he was, as he put it, "forced to become original". At the time of his death, he was one of the most celebrated composers in Europe.
Joseph Haydn was the brother of Michael Haydn, himself a highly regarded composer, and Johann Evangelist Haydn, a tenor. He was also a close friend of Wolfgang Amadeus Mozart and a teacher of Ludwig van Beethoven.
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José de Espronceda
José Ignacio Javier Oriol Encarnación de Espronceda y Delgado (25 March 1808 — 23 May 1842) was a famous Romantic Spanish poet.
Espronceda was born in Almendralejo, at the Province of Badajoz. As a youth, he studied at the Colegio San Mateo at Madrid, having Alberto Lista as a teacher. When he was 15 years old, he formed a secret society named "Los Numantinos" alongside his friends Ventura de la Vega and Patricio de la Escosura, conspiring against Ferdinand VII and intending to avenge the death of Rafael del Riego. For this, he was imprisoned in a monastery and exiled. Afterward, he left Spain and lived in Lisbon, Belgium, France, England and Holland. On his return to Spain in 1833, he became active in the extreme left-wing of Spanish political culture. Espronceda is also known for his affair with Teresa Mancha, for whom he wrote "Canto a Teresa" (from El diablo mundo). He later went to the Malay Peninsula and helped build the Dutch colonies there. He died of diphtheria in 1842.
Having been inspired to a literary career by his teacher Alberto Lista, Espronceda began to write the historical poem El Pelayo during his stay in the monastery. The poem was never completed. Later he wrote the novel Sancho Saldaña. His other important works include El estudiante de Salamanca and El Diablo Mundo, long lyric poems, the latter remained unfinished. Also important were A Jarifa en una orgía, El verdugo, El canto del cosaco, La canción del pirata and Himno al sol. Many of his works display the tendencies of Romanticism, and along with José Zorilla he is considered Spain's most important Romantic poet, as well as the most rebellious.
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José Zorrilla
José Zorrilla y Moral (Spanish pronunciation: [xoˈse θoˈriʎa]; 21 February 1817 – 23 January 1893), was a Spanish Romantic poet and dramatist.
He was born in Valladolid to a magistrate in whom Ferdinand VII placed special confidence,. He was educated by the Jesuits at the Real Seminario de Nobles in Madrid, wrote verses when he was twelve, became an enthusiastic admirer of Walter Scott and Chateaubriand, and took part in the school performances of plays by Lope de Vega and Calderón de la Barca.
In 1833 he was sent to study law at the University of Toledo, but after a year of idleness, he fled to Madrid, where he horrified the friends of his absolutist father by making violent speeches and by founding a newspaper which was promptly suppressed by the government. He narrowly escaped transportation to the Philippines, and passed the next few years in poverty.
The death of the satirist Mariano José de Larra brought Zorrilla into notice. His elegiac poem, read at Larra's funeral in February 1837, introduced him to the leading men of letters. In 1837 he published a book of verses, mostly imitations of Alphonse de Lamartine and Victor Hugo, which was so favourably received that he printed six more volumes within three years.
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Julius Eichberg
Julius Eichberg (13 June 1824 – 18 January 1893) was a German-born composer, musical director and educator who worked mostly in Boston, Massachusetts, in the United States.
Julius Eichberg was born in Düsseldorf, Germany on 13 June 1824. His first musical instruction came from his father whose pupil was an acceptable violin player by his seventh year. He also received instruction outside the family. He attended the Musical Academy of Würzburg as a child. Upon the recommendation of Felix Mendelssohn, he entered the Brussels Conservatoire at the age of nineteen, where he took first prizes for violin playing and composition. He was a pupil of Belgian composer Charles Auguste de Bériot, studied composition under François-Joseph Fétis, and studied violin under Lambert Joseph Meerts. For eleven years he occupied the post of professor in the Conservatoire of Geneva.
In 1857 he came to the United States, staying two years in New York City and then proceeding to Boston, where he became the chef d'orchestre at the Boston Museum. In 1867 he founded and directed the Boston Conservatory of Music, and in the same year he was elected superintendent of music in the Boston Public Schools, which position he long held. He also founded the Eichberg Violin School. He later composed symphonies and piano pieces. Julius Eichberg died in Boston on 19 January 1893.
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Julius Reubke
Julius Reubke (March 23, 1834 – June 3, 1858) was a German composer, pianist and organist. In his short life — he died at the age of 24 — he composed the Sonata on the 94th Psalm, in C minor, which was and still is considered one of the greatest organ works in the repertoire.
Born in Hausneindorf, a small village in the region of the Harz Mountains, Julius Reubke was the eldest son of organ and piano builder Adolf Reubke (1805-1875). Of Julius's five siblings, two brothers, Emil (1836-1884) and Karl (1840-1860), worked with their father; Emil became a partner in 1860 and owned the company from 1872. His brother Otto (1842-1913) was also a pianist, organist and composer; he prepared the Sonata on the 94th Psalm for its first publication in August 1871. Otto settled in Halle, where he was a professor at the University of Halle, and became its director in 1892. There were also two sisters, Meta and Alma.
Reubke's first musical instruction was in Quedlinburg with Hermann Bönicke (1821-1879). He moved to Berlin in April or October 1851, where he continued his musical education at the conservatory there, which had been founded in November 1850 by Theodor Kullak, with whom he studied piano, Adolf Bernhard Marx, with whom he studied composition, and Julius Stern. In Berlin, he encountered the Neudeutsche Schule with conductor Hans von Bülow and organist Alexander Winterberger, both associated with Franz Liszt.
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Juliusz Słowacki
Juliusz Słowacki (Polish pronunciation: [ˈjuljuʂ swɔˈvat͡ski]; 4 September 1809 – 3 April 1849) was a Polish Romantic poet. He is considered one of the "Three Bards" of Polish literature — a major figure in the Polish Romantic period, and the father of modern Polish drama. His works often feature elements of Slavic pagan traditions, Polish history, mysticism and orientalism. His style includes the employment of neologisms and irony. His primary genre was the drama, and secondly, lyric poetry. His most popular works include the dramas Kordian and Balladyna and the poem Beniowski.
Słowacki spent his youth in Stolen Lands, in Kremenets (Polish: Krzemieniec) (now Ukraine) and Vilnius (Polish: Wilno) (now Lithuania). He briefly worked for the government of the Kingdom of Poland. During the November 1830 Uprising, he was a courier for the Polish revolutionary government. When the uprising ended in defeat, he found himself abroad and thereafter, like many compatriots, lived the life of an émigré. He settled briefly in Paris, France, and later in Geneva, Switzerland. He also traveled through Italy, Greece and the Middle East. Eventually he returned to Paris, where he spent the last decade of his life. He briefly returned to Poland when another uprising broke out during the Spring of Nations (1848).
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Juliusz Zarębski
Juliusz Zarębski (3 March 1854 – 15 September 1885) was a Polish composer and pianist.
Zarębski was born and died in Zhytomyr, Ukraine, and was a pupil of Franz Liszt. In his works, Zarębski referred to Liszt and to Fryderyk Chopin. He created solo songs for Adam Mickiewicz and Włodzimierz Wolski writings.
Two years before his death he had to put an end to his career as a virtuoso as he was diagnosed with tuberculosis, throwing himself into teaching (he had been appointed professor at the Royal Conservatory of Brussels in 1880) and composing. It was in these last years that he composed his most striking music, working in such compositions as the five movements Les roses et les épines on the basis of a rather advanced harmony. Though he continued composing nearly exclusively for the piano, the summit of his output would be his 1885 cyclical Piano Quintet in G minor.
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Józef Wieniawski
Józef Wieniawski (23 May 1837 – 11 November 1912) was a Polish pianist, composer, conductor and teacher. He was born in Lublin, the younger brother of the famous Polish violinist Henryk Wieniawski. After Liszt, he was the first pianist to publicly perform all etudes by Chopin and to appear with him in recitals in Paris, London, Copenhagen, Stockholm, Brussels, Leipzig and Amsterdam.
Although now neglected, Józef Wieniawski enjoyed a reputation as one of Europe’s finest musicians. At the very end of his life he was asked a question by a young journalist who inquired him how long he would intend to serve music. He replied: "As long as I remain young!"
Józef Wieniawski studied at the Conservatoire de Paris with Pierre Zimmermann and Antoine François Marmontel in 1847, leaving in 1850. In 1855 he received a scholarship from the Tsar to study with Franz Liszt in Weimar and from 1856 until 1858 in Berlin with Adolf Bernhard Marx with whom he studied musical theory.
After he had performed between 1851 and 1853 as a companion to his brother, he decided to follow a separate career as a piano virtuoso. On concert tours through Europe, he led not only to their own compositions - including the Piano Concerto in G minor - the works of composer Ludwig van Beethoven, Franz Schubert, Felix Mendelssohn, Franz Liszt, Robert Schumann and Carl Maria von Weber. According to Liszt, he was the first pianist who performed Chopin's etudes, all in public.
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Karel Hynek Mácha
Karel Hynek Mácha (Czech pronunciation: [ˈkarɛl ˈɦɪnɛk ˈmaːxa]) (16 November 1810 – 6 November 1836) was a Czech romantic poet.
Mácha grew up in Prague, the son of a foreman at a mill. He learned Latin and German in school. He went on to study law at Prague University; during that time he also became involved in theatre (as an actor he first appeared in Jan Nepomuk Štěpánek's drama Czech and German in July 1832 in Benešov), where he met Eleonora Šomková, with whom he had a son out of wedlock. He was fond of travel, enjoying trips into the mountains, and was an avid walker. Eventually he moved to Litoměřice, a quiet town some 60 km from Prague, to prepare for law school exams and to write poetry. Three days before he was to be married to Šomková, just a few weeks after he had begun working as a legal assistant, Mácha, in helping put out a fire, overstrained himself, and died after a short period of illness, due to pneumonia. The day after his death he was expected in Prague to marry his mistress.
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Karl Bryullov
Karl Pavlovich Bryullov (Russian: Карл Па́влович Брюлло́в12 December 1799 - 11 June 1852), also transliterated Briullov or Briuloff and referred to by his friends as "The Great Karl", was a Russian painter. He is regarded as a key figure in transition from the Russian neoclassicism to romanticism.
Karl Bryullov was born on December, 12th (23), 1799 in St.-Petersburg, in a family of the academician, the woodcarver and engraver Pavel Ivanovich Briullo (Brulleau, 1760—1833). He felt drawn to Italy from his early years. Despite his education at the Imperial Academy of Arts (1809–1821), Bryullov never fully embraced the classical style taught by his mentors and promoted by his brother, Alexander Bryullov. After distinguishing himself as a promising and imaginative student and finishing his education, he left Russia for Rome where he worked until 1835 as a portraitist and genre painter, though his fame as an artist came when he began doing historical painting.
His best-known work, The Last Day of Pompeii (1830–1833), is a vast composition compared by Pushkin and Gogol to the best works of Rubens and Van Dyck. It created a sensation in Italy and established Briullov as one of the finest European painters of his day. After completing this work, he triumphantly returned to the Russian capital, where he made many friends among the aristocracy and intellectual elite and obtained a high post in the Imperial Academy of Arts.
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Karl Klindworth
Karl Klindworth (25 September 1830 – 27 July 1916) was a German composer, pianist, conductor, violinist and music publisher. He was one of Franz Liszt's pupils and later one of his closest disciples and friends, being also on friendly terms with composer Richard Wagner, of whom he was an admirer. He was highly praised by fellow musicians, including Wagner himself and Edward Dannreuther. Among his pupils were Hans von Bülow, Georgy Catoire, Ethelbert Nevin and William Mason.
Klindworth was born in Hanover in 1830 as the son of Carl August Klindworth and Dorothea Wilhelmine (1800–1853), née Lamminger, daughter of court printer Johann Thomas Lamminger (1757–1805). He was the nephew of politician and State Council Georg Klindworth and clockmaker Karl Friedrich Felix Klindworth (1788–1851).
As a child, the young Klindworth received violin lessons and taught himself to play the piano. As he was not accepted as violin pupil of Louis Spohr, he then joined a traveling theater company as a successful violinist and conductor when he was only 17. In 1850 he took over the leadership of the Neue Liedertafel in Hanover. In 1852 Klindworth went to Weimar where he took piano lessons with Franz Liszt and was soon one of his closest disciples and friends. He also became on friendly terms with Richard Wagner.
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Karl Pohlig
Karl Pohlig (10 February 1864 – 17 June 1928) was a German conductor born in Teplitz, Bohemia, Austrian Empire. He studied cello and piano in Weimar, and later taught piano there. In 1901 in Stuttgart he became the first conductor to perform the complete version of Bruckner's Symphony No. 6. This symphony had been performed before in excerpts and in an edited-down version by Gustav Mahler.
Pohlig became conductor of the Philadelphia Orchestra from 1907 to 1912. He invited Sergei Rachmaninoff to make his U.S. debut with the orchestra in 1909. In 1912, he resigned in disgrace after the revelation that he was involved in an extramarital affair with his Swedish secretary. However, Pohlig also sued the orchestra for breach of contract, as he had one year remaining on his contract at that time. He received a settlement of one year's salary. Pohlig concluded his career as conductor of the Braunschweig court opera in Germany, the city in which he died.
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Kornél Ábrányi
Kornél Ábrányi, or Ábrányi Kornél in Hungarian iteration (15 October 1822, Szentgyörgyábrány – 20 December 1903, Budapest) was a Hungarian pianist, music writer and theorist, and composer. A pupil of Frédéric Chopin, and a close friend of Franz Liszt, whose music he championed, Ábrányi chiefly wrote music for piano, but also composed chamber music, choral works, and lieder. He began teaching at the Franz Liszt Academy of Music at its founding in 1875 and became its Secretary.
His grandson was the composer Emil Ábrányi.
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Leslie Ward
Sir Leslie Matthew Ward (21 November 1851 – 15 May 1922), was a British portrait artist and caricaturist who drew or painted numerous portraits which were regularly published by Vanity Fair, under the pseudonyms "Spy" and "Drawl".
Ward was one of eight children of artists Edward Matthew Ward and Henrietta Ward, and the great-grandson of the artist James Ward. Although they had the same surname before marriage, Ward's parents were not related. Both were well-known history painters, his mother coming from a line of painters and engravers, including her father, the engraver and miniature painter George Raphael Ward, and her grandfather, the celebrated animal painter James Ward. She was niece and great-niece respectively of the portrait painter John Jackson and the painter George Morland. Both parents had studios in their homes in Slough in Buckinghamshire and Kensington in London, where they regularly entertained the London artistic and literary elite. Ward's father was a gifted mimic who entertained Charles Dickens and other eminent guests. Although they never gave their son formal training, they and their artistic friends encouraged the young Ward to draw, paint, and sculpt.
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Lina Ramann
Lina Ramann (July 24, 1833 – March 30, 1912) was a German writer and teacher known for her books on the Hungarian composer and pianist Franz Liszt. During 1874-94, she wrote his "official" though inaccurate three volume biography "Franz Liszt, the artist and man" (Franz Liszt als Künstler und Mensch) which was published between 1880-94.
On the request of Ramann, Liszt made a small recollection of one of his lost piano sonatas that he composed in his youth (Anfang einer jugendsonate, S.692b).
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Lord Byron
George Gordon Byron, 6th Baron Byron, later George Gordon Noel, 6th Baron Byron, FRS (22 January 1788 – 19 April 1824), commonly known simply as Lord Byron, was a British poet and a leading figure in the Romantic movement. Among Byron's best-known works are the brief poems She Walks in Beauty, When We Two Parted, and So, we'll go no more a roving, in addition to the narrative poems Childe Harold's Pilgrimage and Don Juan. He is regarded as one of the greatest British poets and remains widely read and influential.
He travelled to fight against the Ottoman Empire in the Greek War of Independence, for which Greeks revere him as a national hero. He died at 36 years old from a fever contracted while in Missolonghi in Greece.
Byron was celebrated in life for aristocratic excesses including huge debts, numerous love affairs, rumours of a scandalous incestuous liaison with his half-sister, and self-imposed exile. It has been speculated that he suffered from bipolar I disorder, or manic depression.
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Louis Niedermeyer
Abraham Louis Niedermeyer (27 April 1802 – 14 March 1861) was a composer chiefly of church music but also of a few operas, and a teacher who took over the Ecole Choron, duly renamed École Niedermeyer, a school for the study and practice of church music, where several eminent French musicians studied including Gabriel Fauré and André Messager.
Born in Nyon, Switzerland, Niedermeyer studied piano in Vienna with Ignaz Moscheles and composition with Emanuel Aloys Förster. He studied further in Rome with Vincenzo Fioravanti (1819) and in Naples with Niccolò Antonio Zingarelli. While in Rome, he had the luck to meet Gioachino Rossini, who befriended him and urged the production of some of Niedermeyer's operas. His first opera, Il reo per amore, was put on in Naples in 1820 with some success.
Like Rossini, Niedermeyer settled in Paris (at the age of 21, in 1823); and there, in later years, four more of his operas were staged, though with little success:
Niedermeyer also collaborated with his friend Rossini on the assembly of Robert Bruce, Rossini's third and last pastiche; Niedermeyer provided the all-important French texts with their characteristic tone color and harmonies.
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Louis Spohr
Louis Spohr (5 April 1784 – 22 October 1859), born Ludwig Spohr, was a German composer, violinist and conductor. Highly regarded during his lifetime, Spohr published nine symphonies, ten operas, fifteen violin concerti, four clarinet concerti, and various works for small ensemble. Spohr was the inventor of both the violin chinrest and the orchestral rehearsal mark. His output occupies a pivotal position between Classicism and Romanticism, but fell into obscurity following his death. It is now rarely heard.
Spohr was born in Braunschweig in the duchy of Brunswick-Wolfenbüttel to Karl Heinrich Spohr and Juliane Ernestine Luise Henke. Spohr's first musical encouragement came from his parents: his mother was a gifted singer and pianist, and his father played the flute. A violinist named Dufour gave the lad his earliest violin teaching. The pupil's first attempts at composition date from the early 1790s. Dufour, recognizing the boy's musical talent, persuaded his parents to send him to Brunswick for further instruction.
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Louise Bertin
Louise-Angélique Bertin (Les Roches, Essonne, 15 January 1805 – Paris, 26 April 1877) was a French composer and poet.
Louise Bertin lived her entire life in France. Her father, Louis-François Bertin, and also her brother later on, were the editors of Journal des débats, an influential newspaper. As encouraged by her family, Bertin pursued music. She received lessons from François-Joseph Fétis, who directed a private family performance of Guy Mannering, the first opera that Bertin ever composed, in 1825. This opera, never formally produced, took its story line from the book of the same name, written by Sir Walter Scott. Two years later, Bertin's second opera, Le Loup-garou, was produced at the Opéra-Comique.
At the age of 21, Bertin began working on an opera semiseria, based on Goethe's Faust. A performance of the completed opera was scheduled for 1830. However, due to many unforeseen complications, Fausto did not actually reach the stage until a full year later. It was not well received and only saw three performances.
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Ludwig Feuerbach
Ludwig Andreas von Feuerbach (July 28, 1804, Landshut, Lower Bavaria – September 13, 1872) was a German philosopher and anthropologist. He was the fourth son of the eminent jurist Paul Johann Anselm Ritter von Feuerbach, brother of mathematician Karl Wilhelm Feuerbach and uncle of painter Anselm Feuerbach. An associate of Left Hegelian circles, Feuerbach was politically liberal, an atheist and a materialist. Many of his philosophical writings offered a critical analysis of Christianity. His thought was influential in the development of dialectical materialism, where he is often recognized as a bridge between Hegel and Marx.
Feuerbach matriculated in the University of Heidelberg with the intention of pursuing a career in the church.[citation needed] Through the influence of Prof. Karl Daub he was led to an interest in the then predominant philosophy of Hegel and, in spite of his father's opposition, enrolled in the University of Berlin in order to study under the master himself. After 22 years, the Hegelian influence began to slacken. Feuerbach became associated with a group known as the Young Hegelians, alternately known as the Left Hegelians, who synthesized a radical offshoot of Hegelian philosophy, interpreting Hegel's dialectic march of spirit through history to mean that existing Western culture and institutional forms—and, in particular, Christianity—would be superseded. "Theology," he wrote to a friend, "I can bring myself to study no more. I long to take nature to my heart, that nature before whose depth the faint-hearted theologian shrinks back; and with nature man, man in his entire quality." These words are a key to Feuerbach's development. He completed his education at Erlangen, at the Friedrich-Alexander-University, Erlangen-Nuremberg with the study of natural science.
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Ludwig Tieck
Johann Ludwig Tieck (May 31, 1773 – April 28, 1853) was a German poet, translator, editor, novelist, writer of Novellen, and critic, who was one of the founding fathers of the Romantic movement of the late 18th and early 19th centuries.
Tieck was born in Berlin, the son of a rope-maker. He was educated at the Friedrich Werdersche Gymnasium, where he learned Greek and Latin, like most preparatory schools required. He also began learning Italian at a very young age from a grenadier he became acquainted with. Through this friendship, Tieck was given a firsthand look at the poor, which could be linked to his work as a Romanticist. Later, he attended the universities of Halle, Göttingen and Erlangen. At Göttingen, he studied Shakespeare and Elizabethan drama.
In 1794 he returned to Berlin, and attempted to make a living by writing. He contributed a number of short stories (1795–1798) to the series of Straussfedern, published by the bookseller C. F. Nicolai and originally edited by J. K. A. Musäus, and wrote Abdallah (1796) and a novel in letters, William Lovell (3 vols. 1795–1796).
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Ludwig Uhland
Johann Ludwig Uhland (26 April 1787 – 13 November 1862), was a German poet, philologist and literary historian.
He was born in Tübingen, then Duchy of Württemberg, and studied jurisprudence at the university there, but also took an interest in medieval literature, especially old German and French poetry. Having graduated as a doctor of laws in 1810, he went to Paris for eight months to continue his studies of poetry; and from 1812 to 1814 he worked as a lawyer in Stuttgart, in the bureau of the minister of justice.
He had begun his career as a poet in 1807 and 1808 by contributing ballads and lyrics to Seckendorff's Musenalmanach; and in 1812 and 1813 he wrote poems for Kerner's Poetischer Almanach and Deutscher Dichterwald. In 1815 he collected his poems in a volume entitled Vaterländische Gedichte, which almost immediately secured a wide circle of readers. To almost every new edition he added some fresh poems. His two dramatic works Ernst, Herzog von Schwaben (1818) and Ludwig der Baier (1819) are unimportant in comparison with his Gedichte.
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Ludwig van Beethoven
Ludwig van Beethoven (i/ˈlʊdvɪɡ væn ˈbeɪt.hoʊvən/; German pronunciation: [ˈluːtvɪç fan ˈbeːt.hoːfən] ( listen); baptized 17 December 1770 – 26 March 1827) was a German composer and pianist. A crucial figure in the transition between the Classical and Romantic eras in Western art music, he remains one of the most famous and influential of all composers.
Born in Bonn, then the capital of the Electorate of Cologne and part of the Holy Roman Empire, Beethoven moved to Vienna in his early 20s, studying with Joseph Haydn and quickly gaining a reputation as a virtuoso pianist. His hearing began to deteriorate in his late twenties, yet he continued to compose, conduct, and perform, even after becoming completely deaf.
Beethoven was the grandson of a musician of Flemish origin named Lodewijk van Beethoven (1712–73) who moved at the age of twenty to Bonn. Lodewijk (Ludwig is the German cognate of Dutch Lodewijk) was employed as a bass singer at the court of the Elector of Cologne, eventually rising to become Kapellmeister (music director). Lodewijk had one son, Johann (1740–1792), who worked as a tenor in the same musical establishment, and gave lessons on piano and violin to supplement his income. Johann married Maria Magdalena Keverich in 1767; she was the daughter of Johann Heinrich Keverich, who had been the head chef at the court of the Archbishopric of Trier.
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Mary Shelley
Mary Shelley (née Mary Wollstonecraft Godwin; 30 August 1797 – 1 February 1851) was an English novelist, short story writer, dramatist, essayist, biographer, and travel writer, best known for her Gothic novel Frankenstein: or, The Modern Prometheus (1818). She also edited and promoted the works of her husband, the Romantic poet and philosopher Percy Bysshe Shelley. Her father was the political philosopher William Godwin, and her mother was the philosopher and feminist Mary Wollstonecraft.
Mary Godwin's mother died when she was eleven days old; afterwards, she and her older half-sister, Fanny Imlay, were raised by her father. When Mary was four, Godwin married his neighbour, Mary Jane Clairmont. Godwin provided his daughter with a rich, if informal, education, encouraging her to adhere to his liberal political theories. In 1814, Mary Godwin began a romantic relationship with one of her father’s political followers, the married Percy Bysshe Shelley. Together with Mary's stepsister, Claire Clairmont, they left for France and travelled through Europe; upon their return to England, Mary was pregnant with Percy's child. Over the next two years, she and Percy faced ostracism, constant debt, and the death of their prematurely born daughter. They married in late 1816 after the suicide of Percy Shelley's first wife, Harriet.
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Maurice Ravel
Joseph-Maurice Ravel (March 7, 1875 – December 28, 1937) was a French composer known especially for his melodies, orchestral and instrumental textures and effects. Much of his piano music, chamber music, vocal music and orchestral music has entered the standard concert repertoire.
Ravel's piano compositions, such as Jeux d'eau, Miroirs, Le tombeau de Couperin and Gaspard de la nuit, demand considerable virtuosity from the performer, and his orchestral music, including Daphnis et Chloé and his arrangement of Modest Mussorgsky's Pictures at an Exhibition, uses a variety of sound and instrumentation.
Ravel is perhaps known best for his orchestral work Boléro (1928), which he considered trivial and once described as "a piece for orchestra without music".
According to SACEM, Ravel's estate earns more royalties than that of any other French composer. According to the law of most countries (including all members of the World Trade Organization), Ravel's works have been in the public domain since January 1, 2008, in most countries.
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Max Erdmannsdörfer
Max Erdmannsdörfer (14 June 1848 – 14 February 1905) (sometimes seen as Max von Erdmannsdörfer) was a German conductor, pianist and composer.
He was born in Nuremberg. He studied at the Leipzig Conservatory, becoming concertmaster at Sondershausen. In 1874 he married the pianist and composer Pauline Fichtner, a student of Franz Liszt. She later used the professional name Pauline Erdmannsdörfer-Fichtner. Erdmannsdörfer corresponded with Liszt, and he premiered Liszt’s symphonic poem Hamlet at Sondershausen on 2 July 1876. He also once owned at least parts of the score of Liszt's lost Piano Concerto No. 3, which was finally pieced together only in 1989 from separate manuscript pages that had been dispersed as far afield as Weimar, Nuremberg and Leningrad. Max Erdmannsdörfer also had an association with Joachim Raff. He and Pauline were the co-dedicatees of the two-piano version of Raff's Piano Quintet, Op. 107, and they premiered it at Sondershausen on 22 September 1877. In 1870, Pauline had been the dedicatee of Raff’s Piano Suite in G minor. Erdmannsdörfer completed Raff's unfinished Symphony No. 11, Op. 214, after its composer's death, and had it published.
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Michelangelo
Michelangelo di Lodovico Buonarroti Simoni (6 March 1475 – 18 February 1564), commonly known as Michelangelo (Italian pronunciation: [mikeˈlandʒelo]), was an Italian Renaissance sculptor, painter, architect, poet, and engineer who exerted an unparalleled influence on the development of Western art. Despite making few forays beyond the arts, his versatility in the disciplines he took up was of such a high order that he is often considered a contender for the title of the archetypal Renaissance man, along with fellow Italian Leonardo da Vinci.
Michelangelo was considered the greatest living artist in his lifetime, and ever since then he has been held to be one of the greatest artists of all time. A number of his works in painting, sculpture, and architecture rank among the most famous in existence. His output in every field during his long life was prodigious; when the sheer volume of correspondence, sketches, and reminiscences that survive is also taken into account, he is the best-documented artist of the 16th century. Two of his best-known works, the Pietà and David, were sculpted before he turned thirty. Despite his low opinion of painting, Michelangelo also created two of the most influential works in fresco in the history of Western art: the scenes from Genesis on the ceiling and The Last Judgment on the altar wall of the Sistine Chapel in Rome. As an architect, Michelangelo pioneered the Mannerist style at the Laurentian Library. At 74 he succeeded Antonio da Sangallo the Younger as the architect of St. Peter's Basilica. Michelangelo transformed the plan, the western end being finished to Michelangelo's design, the dome being completed after his death with some modification.
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Mikhail Glinka
Mikhail Ivanovich Glinka (Russian: Михаи́л Ива́нович Гли́нка) (June 1 [O.S. May 20] 1804 – February 15 [O.S. February 3] 1857), was the first Russian composer to gain wide recognition within his own country, and is often regarded as the father of Russian classical music. Glinka's compositions were an important influence on future Russian composers, notably the members of The Five, who took Glinka's lead and produced a distinctive Russian style of music.
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Mikhail Lermontov
Mikhail Yuryevich Lermontov (Russian: Михаи́л Ю́рьевич Ле́рмонтов; IPA: [mʲɪxɐˈil ˈjurʲjɪvʲɪtɕ ˈlʲɛrməntəf]; October 15 [O.S. October 3] 1814 – July 27 [O.S. July 15] 1841), a Russian Romantic writer, poet and painter, sometimes called "the poet of the Caucasus", became the most important Russian poet after Alexander Pushkin's death in 1837. Lermontov is considered the supreme poet of Russian literature alongside Pushkin and the greatest figure in Russian Romanticism. His influence on later Russian literature is still felt in modern times, not only through his poetry, but also through his prose, which founded the tradition of the Russian psychological novel.
Lermontov was born in Moscow into a respectable noble family of the Tula Oblast, and grew up on the Tarkhany estate in the village of Tarkhany (now Lermontovo) in Penza Oblast. According to legend, his paternal family is descended from the Scottish Earls of Learmont, one of whom settled in Russia in the early 17th century, during the reign of Mikhail Fedorovich Romanov. The legendary Scottish poet Thomas the Rhymer (Thomas Learmonth) is thus claimed as a relative of Lermontov. The only ascertainable genealogical information states that the poet was descended from Yuri (George) Learmont, a Scottish officer in the Polish service who settled in Russia in the middle of 17th century
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Miklós Barabás
Miklós Barabás (February 10, 1810 in Mărcuşa, now Romania - February 12, 1898 in Budapest) was a Hungarian painter. He is mostly known for his portrait paintings, including a famous portrait of a young Franz (Ferenc, in Hungarian) Liszt done in 1847 and an 1853 portrait of Emperor Franz Joseph I.
Barabas was born in Kézdimárkosfalva, Mărcuşa in Romanian. Miklos Barabás was educated at the protestant school of Nagyenyed. He painted from an early age and in 1829 he was a pupil of J. Ender in Vienna for a while. Back in Kolozsvár (Cluj, in Romanian) in 1830 he learned lithography from Gábor Barra. In 1834-1835 he traveled to Italy, where he learned watercolor painting from the Scottsman William Leighton Leitch who was six years his senior; they became friends and toured and painted in the Lago Maggiore region in 1834, and Leitch was a great influence on Barabás's future work. He finally settled in Pest in 1855.
He won the great support of the literary and political leaders of the Reform Age, and was undeniably a pioneer of Hungarian national art. He was a founder and active member of art life in Hungary, and the beginnings of Hungarian genre painting are also linked with his name. His "Romanian Family Going To The Fair" (1844) was considered the most beautiful folk genre painting of its time. It met with great success at the 1844 exhibition of the Vienna Art Association, and later in Pest. He spent most of his life in Pest. During absolutism, he had to face financial problems, forcing him to take photos and to paint altars for some time. As a result of his struggle, the Art Society was established in 1859, of which he was the President from 1862 until his death
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Moriz Rosenthal
Moriz Rosenthal (December 17, 1862 – September 3, 1946) was a great Polish pianist. He was an outstanding pupil of Franz Liszt and a friend and colleague of some of the greatest musicians of his age, including Johannes Brahms, Johann Strauss, Anton Rubinstein, Hans von Bülow, Camille Saint-Saëns, Jules Massenet and Isaac Albéniz.
Rosenthal was born in Lemberg, Austria–Hungary (now Lviv, Ukraine), where his father was professor at the chief academy. At eight years of age he commenced his piano studies under Galoth.
In 1872, Rosenthal became a pupil of Karol Mikuli, Chopin's pupil and editor, who trained him along more academic lines at Lviv Conservatory. Rosenthal then studied with Rafael Joseffy, student of Carl Tausig and Liszt. A tour through Romania followed when he was fourteen. In 1878 Rosenthal became a pupil of Liszt, with whom he studied in Weimar and Rome.
As Liszt's pupil, Rosenthal made appearances in St. Petersburg, Paris, and elsewhere. His general education, however, was not neglected, and in 1880 Rosenthal qualified to take the philosophical course at the University of Vienna. Six years later he resumed his career with the piano, achieving brilliant success in Leipzig, and in Boston, where he made his U.S. debut in 1888, and subsequently in England in 1895. From 1939, he taught in his own piano school in New York City, where he died in 1946.
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Nathaniel Hawthorne
Nathaniel Hawthorne (born Nathaniel Hathorne; July 4, 1804 – May 19, 1864) was an American novelist and short story writer.
Nathaniel Hawthorne was born in 1804 in the city of Salem, Massachusetts to Nathaniel Hathorne and the former Elizabeth Clarke Manning. His ancestors include John Hathorne, the only judge involved in the Salem witch trials who never repented of his actions. Nathaniel later added a "w" to make his name "Hawthorne" in order to hide this relation. He entered Bowdoin College in 1821, was elected to Phi Beta Kappa in 1824, and graduated in 1825. Hawthorne anonymously published his first work, a novel titled Fanshawe, in 1828. He published several short stories in various periodicals which he collected in 1837 as Twice-Told Tales. The next year, he became engaged to Sophia Peabody. He worked at a Custom House and joined Brook Farm, a transcendentalist community, before marrying Peabody in 1842. The couple moved to The Old Manse in Concord, Massachusetts, later moving to Salem, the Berkshires, then to The Wayside in Concord. The Scarlet Letter was published in 1850, followed by a succession of other novels. A political appointment took Hawthorne and family to Europe before their return to The Wayside in 1860. Hawthorne died on May 19, 1864, and was survived by his wife and their three children.
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Nathaniel Shilkret
Nathaniel Shilkret (December 25, 1889 – February 18, 1982) was an American composer, conductor, clarinetist, pianist, business executive, and music director born in New York City, New York to an Austrian immigrant family.
Shilkret was born to a musical family. His father played almost every instrument, and made certain that Nat and his three brothers were all accomplished musicians at an early age. Older brother Lew Shilkret was a fine pianist, but also worked in the insurance industry. Younger brother Jack Shilkret had a career that paralleled Nathaniel's career: he played clarinet and piano, recorded extensively, and conducted and played piano on the radio and in motion pictures. The youngest brother Harry Shilkret was a medical doctor, who worked his way through school playing trumpet, and continued to play trumpet frequently in Nathaniel's orchestras, particularly for radio broadcasts, long after he was a practicing allergist. Nathaniel Shilkret's brother-in-law, Nathaniel Finston, was violinist in many organizations in his youth and was musical director for Paramount and later for MGM, at one time being Nathaniel Shilkret's boss.
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Niccolò Jommelli
Niccolò Jommelli (10 September 1714 – 25 August 1774) was an Italian composer. He was born in Aversa and died in Naples. Along with other composers mainly in the Holy Roman Empire and France, he made important changes to opera and reduced the importance of star singers.
Jommelli was born to Francesco Antonio Jommelli and Margarita Cristiano in Aversa, a town some 20 kilometres north of Naples. He had one brother Ignazio, who became a Dominican monk and helped the composer in his old age, and three sisters. His father was a prosperous linen merchant, who entrusted Jommelli to the choir director of the cathedral, Canon Muzzillo.
As he had shown talent for music, Jommelli was enrolled after in 1725 at the Conservatorio di Santo Onofrio a Capuana in Naples, where he studied under Ignazio Prota and Francesco Feo. Three years later he was transferred to the Conservatorio di Santa Maria della Pietà dei Turchini, where he was trained under Niccolò Fago, having Don Giacomo Sarcuni and Andrea Basso, as second maestri, that is, singing teachers (maestri di canto).
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Niccolò Paganini
Niccolò (or Nicolò) Paganini (27 October 1782 – 27 May 1840) was an Italian violinist, violist, guitarist, and composer. He was one of the most celebrated violin virtuosi of his time, and left his mark as one of the pillars of modern violin technique. His Caprice No. 24 in A minor, Op. 1, is among the best known of his compositions, and has served as an inspiration for many prominent composers.
Niccolò Paganini was born in Genoa, Italy, the third of the six children of Antonio and Teresa (née Bocciardo) Paganini. Paganini's father was an unsuccessful trader, but he managed to supplement his income through playing music on the mandolin. At the age of five, Paganini started learning the mandolin from his father, and moved to the violin by the age of seven. His musical talents were quickly recognized, earning him numerous scholarships for violin lessons. The young Paganini studied under various local violinists, including Giovanni Servetto and Giacomo Costa, but his progress quickly outpaced their abilities. Paganini and his father then traveled to Parma to seek further guidance from Alessandro Rolla. But upon listening to Paganini's playing, Rolla immediately referred him to his own teacher, Ferdinando Paer and, later, Paer's own teacher, Gasparo Ghiretti. Though Paganini did not stay long with Paer or Ghiretti, the two had considerable influence on his composition style.
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Nikolai Rubinstein
Nikolai Grigoryevich Rubinstein (14 June [O.S. 2 June] 1835 – 23 March [O.S. 11 March] 1881) was a Russian pianist, conductor and composer. He was the younger brother of Anton Rubinstein and a close friend of Pyotr Ilyich Tchaikovsky.
Born to Jewish parents in Moscow, where his father had just opened a small factory, Rubinstein showed talent at the keyboard early on. He studied piano first with his mother, and while the family was in Berlin between 1844 and 1846, he studied piano with Theodor Kullak and harmony and counterpoint with Siegfried Dehn; during this time both he and his brother Anton attracted the interest and support of Mendelssohn and Meyerbeer. When the family returned to Moscow, Nikolai studied with Alexander Villoing, who also toured with him. He studied medicine to avoid army conscription, graduating from Moscow University in 1855.
As a result of his playing, Rubinstein was welcomed in all the fashionable artistocratic houses in Moscow. He co-founded the Moscow branch of the Russian Musical Society in 1859 and the Moscow Conservatory in 1866 with Prince Nikolai Petrovitch Troubetzkoy, serving as director of the latter until his death in 1881. He hired Tchaikovsky, then newly graduated from the Saint Petersburg Conservatory, to teach harmony at Moscow Conservatory. He actively encouraged Tchaikovsky's creative effforts and performed his compositions. Rubinstein and Tchaikovsky had a well-known falling-out over the latter's First Piano Concerto, but Rubinstein later revised his position and became an ardent champion of the work. Rubinstein conducted the premiere of Tchaikovsky's opera Eugene Onegin in 1879. Tchaikovsky wrote his Piano Trio in A minor in Rubinstein's memory after he died from tuberculosis in Paris.
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Nikolaus Lenau
Nikolaus Lenau was the nom de plume of Nikolaus Franz Niembsch Edler von Strehlenau (25 August 1802, Schadat, near Temesvár, Hungary – 22 August 1850, Oberdöbling, near Vienna), a German language Austrian poet.
He was born at Schadat, now Lenauheim, Romania. His father, a Habsburg government official, died in 1807 in Budapest, leaving his children in the care of their mother, who remarried in 1811. In 1819 Nikolaus went to the University of Vienna; he subsequently studied Hungarian law at Pozsony (Bratislava) and then spent the next four years qualifying himself in medicine. Unable to settle down to any profession, he began writing verse. The disposition to sentimental melancholy inherited from his mother, stimulated by disappointments in love and by the prevailing fashion of the romantic school of poetry, descended into gloom after his mother's death in 1829.
Soon afterwards, however, a legacy from his grandmother enabled him to devote himself wholly to poetry. His first published poems appeared in 1827, in Johann Gabriel Seidl's Aurora. In 1831 he moved to Stuttgart, where he published a volume of Gedichte (1832) dedicated to the Swabian poet, Gustav Schwab. He also made the acquaintance of Ludwig Uhland, Justinus Kerner, Karl Mayer and others. His restless spirit longed for change, and he determined to seek peace and freedom in America.
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Nikolay Karamzin
Nikolay Mikhailovich Karamzin (Russian: Никола́й Миха́йлович Карамзи́н) (12 December [O.S. 1 December] 1766 – 3 June [O.S. 22 May] 1826) was a Russian writer, poet, historian, and critic. He is best remembered for his History of the Russian State, a 12-volume national history.
Karamzin was born in the village of Mikhailovka, in the government of Orenburg on 1 December (old style) 1766. His father was an officer in the Russian army. He was sent to Moscow to study under Swiss-German teacher Johann Matthias Schaden; he later moved to St Petersburg, where he made the acquaintance of Ivan Dmitriev, a Russian poet of some merit, and occupied himself with translating essays by foreign writers into his native language. After residing for some time in St Petersburg he went to Simbirsk, where he lived in retirement until induced to revisit Moscow. There, finding himself in the midst of the society of learned men, he again took to literary work.
In 1789 he resolved to travel, and visited Germany, France, Switzerland and England. On his return he published his Letters of a Russian Traveller, which met with great success. These letters, modelled after Irish-born Poet, Laurence Sterne´s Sentimental Journey, were first printed in the Moscow Journal, which he edited, but were later collected and issued in six volumes (1797–1801).
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Novalis
Novalis (German pronunciation: [noˈvaːlɪs]) was the pseudonym of Georg Philipp Friedrich Freiherr von Hardenberg (May 2, 1772 – March 25, 1801), an author and philosopher of early German Romanticism.
Georg Philipp Friedrich von Hardenberg was born in 1772 at Oberwiederstedt manor (now part of Arnstein, Saxony-Anhalt), in the Harz mountains. The family seat was a manorial estate, not simply a stately home. Novalis descended from ancient, Low German nobility. Different lines of the family include such important, influential magistrates and ministry officials as the Prussian chancellor Karl August von Hardenberg (1750–1822). An oil painting and a christening cap commonly assigned to Novalis are his only possessions now extant. In the church in Wiederstedt, he was christened Georg Philipp Friedrich. He spent his childhood on the family estate and used it as the starting point for his travels into the Harz mountains.
Novalis’s father, the estate owner and salt-mine manager Heinrich Ulrich Erasmus Freiherr von Hardenberg (1738–1814), was a strictly pietistic man who had become a member of the Moravian (Herrnhuter) Church. His second marriage was to Auguste Bernhardine von Hardenberg, née Bölzig (1749–1818), who gave birth to eleven children: their second child was Georg Philipp Friedrich, who later named himself Novalis.
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Percy Bysshe Shelley
Percy Bysshe Shelley ( /ˈpɜrsi ˈbɪʃ ˈʃɛli/; 4 August 1792 – 8 July 1822) was one of the major English Romantic poets and is critically regarded as among the finest lyric poets in the English language. Shelley was famous for his association with John Keats and Lord Byron. The novelist Mary Shelley (née Godwin) was his second wife.
He is most famous for such classic anthology verse works as "Ozymandias", Ode to the West Wind, To a Skylark, Music, When Soft Voices Die, The Cloud and The Masque of Anarchy, which are among the most popular and critically acclaimed poems in the English language. His major works, however, are long visionary poems which included Queen Mab (later reworked as The Daemon of the World), Alastor, The Revolt of Islam, Adonaïs and the unfinished work The Triumph of Life. The Cenci (1819) and Prometheus Unbound (1820) were dramatic plays in five and four acts respectively. Although he has typically been figured as a "reluctant dramatist", he was passionate about the theatre, and his plays continue to be performed today. He wrote the Gothic novels Zastrozzi (1810) and St. Irvyne (1811) and the short prose works "The Assassins" (1814), "The Coliseum" (1817) and "Una Favola" (1819). In 2008, he was credited as the co-author of the novel Frankenstein (1818) in a new edition by the Bodleian Library in Oxford and Random House in the U.S. entitled The Original Frankenstein, edited by Charles E. Robinson.
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Philipp Otto Runge
Philipp Otto Runge (23 July 1777 – 2 December 1810) was a Romantic German painter and draughtsman. He made a late start to his career and died young, nonetheless he is considered among the best German Romantic painters.
Runge was born as the 9th of 11 children of a family of shipbuilders in Wolgast, in Western Pomerania, then under Swedish rule. As a sickly child he often missed school and at an early age learned the art of scissor-cut silhouettes from his mother, practised by him throughout his life. In 1795 he began a commercial apprenticeship at his older brother Daniel's firm in Hamburg. In 1799 Daniel supported Runge financially to begin study of painting under Jens Juel at the Copenhagen Academy. In 1801 he moved to Dresden to continue his studies, where he met Caspar David Friedrich, Ludwig Tieck, and his future wife Pauline Bassenge. He also began extensive study of the writings of the 17th century mystic Jakob Boehme. In 1803, on a visit to Weimar, Runge unexpectedly met Johann Wolfgang von Goethe and the two formed a friendship based on their common interests in color and art.
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Philipp Veit
Philipp Veit (13 February 1793 – 18 December 1877) was a German Romantic painter. To Veit is due the credit of having been the first to revive the almost forgotten technique of fresco painting.
Veit was born in Berlin, Prussia. He was the son of a banker Simon Veit and his wife Dorothea, daughter of Moses Mendelssohn, who subsequently left him to marry Friedrich Schlegel. Veit received his first art education in Dresden and Vienna. He was strongly influenced by, and joined, the Nazarene movement in Rome, where he worked for some years before moving to Frankfurt.
In Frankfurt, where his most important works are preserved at the Städel, he was active from 1830 to 1843 as director of the art collections and as professor of painting. From 1853 till his death in 1877 he held the post of director of the municipal gallery at Mainz. Like his fellow Nazarenes he was more draughtsman than painter, and though his sense of colour was stronger than that of Overbeck or Cornelius, his works are generally more of the nature of coloured cartoons than of paintings in the modern sense.
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Pierre Petit
Pierre Lanith Petit (1832–1909) was a French photographer born in Aups, in Provence. He learned photography in Paris 'with' or better under orders of André-Adolphe-Eugène Disdéri (1819–1889) in the 77 employees workshop. In 1858, he opened his own workshop.
He was the official photographer of the 1867 Exposition Universelle and went to New York several times to report on the construction of the Statue of Liberty.
In 1898, he was the first photographer to attempt underwater photography.
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Piotr Michałowski
Piotr Michałowski (July 2, 1800 – June 9, 1855) was a Polish painter of the Romantic period, especially known for his many portraits.
His talent was long underestimated, but he was re-discovered by Pablo Picasso in 1948. When the painter visited Poland, he saw Michałowski's work in the Warsaw National Museum and shouted, "Here, painter!"
The Sukiennice Museum, a division of the National Museum in Kraków, contains a room devoted to Michałowski's work.
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Ralph Waldo Emerson
Ralph Waldo Emerson (May 25, 1803 – April 27, 1882) was an American essayist, lecturer, and poet, who led the Transcendentalist movement of the mid-19th century. He was seen as a champion of individualism and a prescient critic of the countervailing pressures of society, and he disseminated his thoughts through dozens of published essays and more than 1,500 public lectures across the United States.
Emerson gradually moved away from the religious and social beliefs of his contemporaries, formulating and expressing the philosophy of Transcendentalism in his 1836 essay, Nature. Following this ground-breaking work, he gave a speech entitled The American Scholar in 1837, which Oliver Wendell Holmes, Sr. considered to be America's "Intellectual Declaration of Independence".
Emerson wrote most of his important essays as lectures first, then revised them for print. His first two collections of essays – Essays: First Series and Essays: Second Series, published respectively in 1841 and 1844 – represent the core of his thinking, and include such well-known essays as Self-Reliance, The Over-Soul, Circles, The Poet and Experience. Together with Nature, these essays made the decade from the mid-1830s to the mid-1840s Emerson's most fertile period.
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Raphael
Raffaello Sanzio da Urbino (April 6 or March 28, 1483 – April 6, 1520), better known simply as Raphael, was an Italian painter and architect of the High Renaissance. His work is admired for its clarity of form and ease of composition and for its visual achievement of the Neoplatonic ideal of human grandeur. Together with Michelangelo and Leonardo da Vinci, he forms the traditional trinity of great masters of that period.
Raphael was enormously productive, running an unusually large workshop, and despite his death at 37, a large body of his work remains. Many of his works are found in the Apostolic Palace of The Vatican, where the frescoed Raphael Rooms were the central, and the largest, work of his career. The best known work is The School of Athens in the Vatican Stanza della Segnatura. After his early years in Rome much of his work was self-designed, but for the most part executed by the workshop from his drawings, with considerable loss of quality. He was extremely influential in his lifetime, though outside Rome his work was mostly known from his collaborative printmaking. After his death, the influence of his great rival Michelangelo was more widespread until the 18th and 19th centuries, when Raphael's more serene and harmonious qualities were again regarded as the highest models. His career falls naturally into three phases and three styles, first described by Giorgio Vasari: his early years in Umbria, then a period of about four years (from 1504–1508) absorbing the artistic traditions of Florence, followed by his last hectic and triumphant twelve years in Rome, working for two Popes and their close associates.
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Richard Wagner
Wilhelm Richard Wagner ( /ˈvɑːɡnər/; German pronunciation: [ˈʁiçaʁt ˈvaːɡnɐ]; 22 May 1813 – 13 February 1883) was a German composer, conductor, theatre director and polemicist primarily known for his operas (or "music dramas", as he later called them). Wagner's compositions, particularly those of his later period, are notable for their complex texture, rich harmonies and orchestration, and the elaborate use of leitmotifs: musical themes associated with individual characters, places, ideas or plot elements. Unlike most other opera composers, Wagner wrote both the music and libretto for every one of his stage works. Perhaps the two best-known extracts from his works are the Ride of the Valkyries from the opera Die Walküre, and the Wedding March (Bridal Chorus) from the opera Lohengrin.
Initially establishing his reputation as a composer of works such as The Flying Dutchman and Tannhäuser which were broadly in the romantic vein of Weber and Meyerbeer, Wagner transformed operatic thought through his concept of the Gesamtkunstwerk ("total work of art"). This would achieve the synthesis of all the poetic, visual, musical and dramatic arts and was announced in a series of essays between 1849 and 1852. Wagner realized this concept most fully in the first half of the monumental four-opera cycle Der Ring des Nibelungen. However, his thoughts on the relative importance of music and drama were to change again, and he reintroduced some traditional operatic forms into his last few stage works, including Die Meistersinger von Nürnberg.
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Robert Burns
Robert Burns (25 January 1759 – 21 July 1796) (also known as Rabbie Burns, Scotland's favourite son, the Ploughman Poet, Robden of Solway Firth, the Bard of Ayrshire and in Scotland as simply The Bard) was a Scottish poet and a lyricist. He is widely regarded as the national poet of Scotland, and is celebrated worldwide. He is the best known of the poets who have written in the Scots language, although much of his writing is also in English and a "light" Scots dialect, accessible to an audience beyond Scotland. He also wrote in standard English, and in these his political or civil commentary is often at its most blunt.
He is regarded as a pioneer of the Romantic movement, and after his death he became a great source of inspiration to the founders of both liberalism and socialism, and a cultural icon in Scotland and among the Scottish Diaspora around the world. Celebration of his life and work became almost a national charismatic cult during the 19th and 20th centuries, and his influence has long been strong on Scottish literature. In 2009 he was chosen as the 'Greatest Scot' by the Scottish public in a vote run by Scottish television channel STV.
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Robert Franz
Robert Franz (28 June 1815 – 24 October 1892) was a German composer, mainly of lieder.
He was born Robert Knauth in Halle, Germany, the son of Christoph Franz Knauth. In 1847, Christoph Knauth adopted his middle name Franz as his new surname, and his son followed suit.
He suffered in early life, as many musicians have suffered, from the hostility of his parents to a musical career. He was twenty years old when his father's animosity was conquered, and he was allowed to live in Dessau to study organ playing under Friedrich Schneider. The two years of study under that famous teacher were advantageous chiefly in making him uncommonly intimate with the works of Bach and Händel, his knowledge of which be showed in his editions of the St Matthew Passion, Magnificat, ten cantatas, and of Messiah and L'Allegro, though some of these editions have long been a subject of controversy among musicians.
In 1843 he published his first book of songs, which ultimately was followed by some fifty more books, containing in all about 250 songs. At Halle, Franz filled various public offices, including those of organist to the city, conductor of the Singakademie and of the Symphony concerts, and he was also a royal music-director and master of the music at the university. The first book of songs was warmly praised by Liszt and Schumann, the latter of whom wrote a lengthy review of it in Schumann's paper, Neue Zeitschrift für Musik, which later was published separately.
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Robert Schumann
Robert Schumann, sometimes known as Robert Alexander Schumann, (8 June 1810 – 29 July 1856) was a German composer, aesthete and influential music critic. He is regarded as one of the greatest and most representative composers of the Romantic era. Schumann left the study of law to return to music, intending to pursue a career as a virtuoso pianist. He had been assured by his teacher Friedrich Wieck that he could become the finest pianist in Europe, but a hand injury ended this dream. Schumann then focused his musical energies on composing.
Schumann's published compositions were written exclusively for the piano until 1840; he later composed works for piano and orchestra; many Lieder (songs for voice and piano); four symphonies; an opera; and other orchestral, choral, and chamber works. Works such as Kinderszenen, Album für die Jugend, Blumenstück and Albumblätter are among his most famous. His writings about music appeared mostly in the Neue Zeitschrift für Musik (New Journal for Music), a Leipzig-based publication which he jointly founded.
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Robert Volkmann
Friedrich Robert Volkmann (6 April 1815 – 30 October 1883) was a German composer.
He was born in Lommatzsch, Saxony, Germany. His father was a music director for a church, so he trained his son in music to prepare him as a successor. Thus Volkmann learned to play the organ and the piano with his father, studied violin and cello with Friebel, and by age 12 he was playing the cello part in string quartets by Haydn, Mozart and Beethoven. In 1832 Robert Volkmann entered the Freiberg Gymnasium for the purpose of becoming a teacher. There he studied music with Anacker, who encouraged him to devote himself to music more fully. From there he went on to Leipzig in 1836 to study with Carl Ferdinand Becker. In Leipzig he met Robert Schumann, who encouraged him in his studies. They met again several times after that.
When he finished his studies, he began working as voice teacher at a music school in Prague. He did not stay there long, and in 1841 he moved to Budapest, where he was employed as a piano teacher and a reporter for the Allgemeine Wiener Musik-Zeitung. He composed in virtual obscurity until 1852, when his Piano Trio in B-flat minor caught the ears of Franz Liszt and Hans von Bülow, who proceeded to play it several times all over Europe. In 1854 Volkmann moved to Vienna, only to return to Budapest in 1858.
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Romani people
The Romani are an ethnic group living mostly in Europe, who trace their origins to the Indian Subcontinent. Romani are widely known in the English-speaking world by the exonym Gypsies (or Gipsies).
They are known collectively in the Romani language as Romane or Rromane (depending on the dialect concerned) and also as Romany, Romanies, Romanis, Roma or Roms.
Romani are widely dispersed, with their largest concentrated populations in Europe, especially the Roma of Central and Eastern Europe and Anatolia, followed by the Kale of Iberia and Southern France.
The Americas are also home to large numbers of Romani. There are an estimated one million Roma in the United States; 800,000 in Brazil, to which Kale were deported by the government of Portugal during the colonial era; and in more recent migrations, Romani have also moved to other parts of the New World.
The Romani language is divided into several dialects, which add up to an estimated number of speakers larger than two million. The total number of Romani people is at least twice as large (several times as large according to high estimates). Many Romani are native speakers of the language current in their country of residence, or of mixed languages combining the two.
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Samuel Palmer
Samuel Palmer (27 January 1805 – 24 May 1881) was a British landscape painter, etcher and printmaker. He was also a prolific writer. Palmer was a key figure in Romanticism in Britain and produced visionary pastoral paintings.
Palmer, who was born in Newington, London in Surrey Square off the Old Kent Road, was the son of a bookseller and sometime Baptist minister, and was raised by a pious nurse. Palmer painted churches from around age twelve, and first exhibited Turner-inspired works at the Royal Academy at the age of fourteen. He had little formal training, and did not have a formal schooling, although he was educated briefly at Merchant Taylors' School.
Through John Linnell, he met William Blake in 1824. Blake's influence can be seen in the works he produced over the next ten years or so, which are generally reckoned to be his greatest. These works were of landscapes around Shoreham, near Sevenoaks in the west of the county of Kent. He purchased a run-down cottage, nicknamed "Rat Abbey", and it was there that he lived from 1826 to 1835, depicting the area as a demi-paradise, mysterious and visionary, and often shown in sepia shades under moon and star light. There Palmer also associated with the group of Blake-influenced artists known as The Ancients (including George Richmond and Edward Calvert). They were among the few who ever saw the Shoreham paintings since, as a result of attacks by critics in 1825, he only ever opened those early portfolios to selected friends.
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Sigismond Thalberg
Sigismond Thalberg (January 8, 1812 – April 27, 1871) was a composer and one of the most distinguished virtuoso pianists of the 19th century.
Sigismond Thalberg was born in Pâquis near Geneva, Switzerland, on January 8, 1812. According to his birth certificate, he was the son of "Joseph Thalberg" and "Fortunée Stein", both from Frankfurt-am-Main, but the names in the birth certificate are now regarded as fictitious. For reasons of Thalberg's illegitimate birth, during his lifetime it was common use not to call his parents true names. François-Joseph Fétis, in the article "Thalberg" in his Biographie universelle des musiciens (1863), therefore wrote that Thalberg was son of a Prince „M.. D..“ and a Baroness „W...“.
The identity of Thalberg's mother as Baroness Maria Julia Wetzler von Plankenstern was disclosed 1871 by L. R. von Kohlenegg (Poly Henrion) in an article for the paper Ueber Land und Meer and 1882 by Constant von Wurzbach in the eighth volume of his Biographisches Lexikon des Kaiserthums Österreich. As excuse for their being indiscreet both authors wrote that the Baroness herself had always admitted that Sigismond Thalberg was her son. She wore a ring on one of her thumbs and told people who had asked her about it, that the ring had been given to her by Thalberg's father after she had given birth to the child. She was born Julia Bydeskuty von Ipp, from a Hungarian family of a lower rank of the nobility. In 1820 she married Baron Alexander Ludwig Wetzler von Plankenstern.
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Sophie Menter
Sophie Menter (July 29, 1846—February 23, 1918) was a German pianist and composer who became the favorite female student of Franz Liszt. She was called l'incarnation de Liszt in Paris because of her robust, electrifying playing style and was considered one of the greatest piano virtuosos of her time. She died at Stockdorf, near Munich.
Sophie Menter was born in Munich, the daughter of cellist Josef Menter and singer Wilhelmine Menter (née Diepold). She studied piano with Siegmund Lebert and later Friedrich Niest. At 15, she played Carl Maria von Weber's Konzertstück for piano and orchestra with Franz Lachner conducting.
Her first concert appearances took her to Stuttgart, Frankfurt and Switzerland, and in 1867 she became acclaimed for her interpretation of Liszt's piano music at the Leipzig Gewandhaus. In Berlin, Menter became acquainted with the famous pianist Carl Tausig; she became a pupil of Liszt in 1869 after studying with Tausig and Hans von Bülow. Between 1872 and 1886 she was married to cellist David Popper. In 1881 she first appeared in England and was awarded honorary membership of the Royal Philharmonic Society two years later. In 1883 she became professor of piano at the Saint Petersburg Conservatory but left in 1886 to continue concertizing.
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Stanley Sadie
Stanley Sadie CBE (30 October 1930 – 21 March 2005) was a leading British musicologist, music critic, and editor. He was editor of the sixth edition of the Grove Dictionary of Music and Musicians (1980), which was published as the first edition of the New Grove Dictionary of Music and Musicians.
Sadie was educated at St Paul's School, London, and Gonville and Caius College, Cambridge, where he read music under Thurston Dart (BA, MusB 1953, MA 1957, PhD 1958). His doctoral dissertation was on mid-eighteenth-century British chamber music. After Cambridge, he taught at Trinity College of Music, London (1957-1965).
Sadie then turned to music journalism, becoming music critic for The Times (1964-1981), and contributing reviews to the Financial Times after 1981, when he had to leave his position and The Times because of his commitments to the Grove and other scholarly work. He was editor of The Musical Times 1967-1987.
From 1970 Sadie was editor of what was planned to be the sixth edition of the Grove Dictionary of Music and Musicians (1980). Sadie oversaw major changes to the Dictionary, which grew from nine volumes to 20, and was published as the New Grove Dictionary of Music and Musicians (New Grove), and is now referred to as the first edition under that name. He was also an important force behind the second edition of New Grove (2001), which grew further to 29 volumes. Sadie also oversaw a major expansion of the Grove franchise, editing the one-volume Grove Concise Dictionary of Music (1988), and several spinoff dictionaries, such as the New Grove Dictionary of Musical Instruments (three volumes, 1984), the New Grove Dictionary of American Music, (with H. Wiley Hitchcock, four volumes, 1986), and the New Grove Dictionary of Opera (four volumes, 1992). He also edited composer biographies based on the entries in Grove.
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Stendhal
Marie-Henri Beyle (23 January 1783 – 23 March 1842), better known by his pen name Stendhal, was a 19th-century French writer. Known for his acute analysis of his characters' psychology, he is considered one of the earliest and foremost practitioners of realism in his two novels Le Rouge et le Noir (The Red and the Black, 1830) and La Chartreuse de Parme (The Charterhouse of Parma, 1839).
Born in Grenoble, Isère, he had an unhappy childhood in what he found to be stifling provincial France, disliking his "unimaginative" father and mourning his mother, who had died when he was young. His closest friend was his younger sister, Pauline, with whom he maintained a steady correspondence throughout the first decade of the 19th century.
The military and theatrical worlds of the First French Empire were a revelation to Beyle. He was named an auditor with the Conseil d'État on 3 August 1810, and thereafter took part in the French administration and in the Napoleonic wars in Italy. He travelled extensively in Germany and was part of Napoleon's army in the 1812 invasion of Russia.
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Stephen Heller
Stephen Heller (Hungarian: Heller István (15 May 1813 – 14 January 1888) was a Hungarian composer and pianist whose career spanned the period from Schumann to Bizet, and was an influence for later Romantic composers.
Stephen Heller was born in Pest (now Budapest, Hungary) in 1813. He had been destined for a legal career, but instead decided to devote his life to music. At the age of nine he performed Jan Ladislav Dussek's Concerto for Two Pianos with his teacher, F. Brauer, at the Budapest Theater. He played so well that he was sent to study in Vienna, Austria, under Carl Czerny. Unable to afford Czerny's expensive fees, he became a student of Anton Halm. After a success in the first public concert in Vienna at the age of 15, his father undertook a concert tour through Hungary, Poland and Germany.
Heller returned to Budapest by way of Kassel, Frankfurt, Nuremberg, Hamburg, and Augsburg. After passing the winter of 1829 at Hamburg, he was taken ill at Augsburg in the summer of 1830. He abandoned the tour there and was soon afterwards adopted by a wealthy patron of music.
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Taras Shevchenko
Taras Hryhorovych Shevchenko (Ukrainian: Тара́с Григо́рович Шевче́нко, Russian: Тара́с Григо́рьевич Шевче́нко, Taras Grigoryevich Shevchenko), ( March 9 [O.S. February 25] 1814 – March 10 [O.S. February 26] 1861) was a Ukrainian poet, artist and humanist. His literary heritage is regarded to be the foundation of modern Ukrainian literature and, to a large extent, the modern Ukrainian language. Shevchenko also wrote in Russian and left many masterpieces as a painter and an illustrator.
Born into a serf family of Hryhoriy Ivanovych Shevchenko (1782? - 1825) and Kateryna Yakymivna Shevchenko (Boiko) (1782? - August 6, 1823) in the village of Moryntsi, of Kiev Governorate of the Russian Empire (now in Cherkasy Oblast, Ukraine) Shevchenko was orphaned at the age of eleven. He was taught to read by a village precentor, and loved to draw at every opportunity. Shevchenko went as a household servant with his Russian aristocrat lord Pavel Engelhardt to Vilnius (1828–31) and then to Saint Petersburg.
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Theodor Kullak
Theodor Kullak (12 September 1818 – 1 March 1882) was a German pianist, composer, and teacher.
Kullak was born in Krotoschin (Krotoszyn) in the Grand Duchy of Posen, in Wielkopolska - western part of Poland taken during the second partition of Poland by Kingdom of Prussia. He began his piano studies as a pupil of Albrecht Agthe in Posen (Poznań). He progressed sufficiently to excite the interest of the artistic Prince Anton Radziwill in his eighth year. This early ability to attract noble patronage was an art he continued to deploy to advantage for many years to come. In 1829 the prince used his influence to secure a Berlin court concert. He appeared with a co-artist called Henriette Sontag. The usually undemonstrative King Frederick William IV was so delighted that he presented young Kullak with thirty Friedrichs d'or. Six weeks in Berlin was a real adventure which was topped off with a concert in Breslau that was received with gratifying applause. The kindly Prince Radziwill then saw to a rounded education for Kullak, sponsoring his school fees in Sulechów (now in Poland).
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Théodore Géricault
Jean-Louis André Théodore Géricault (26 September 1791 – 26 January 1824) was a profoundly influential French artist, painter and lithographer, known for The Raft of the Medusa and other paintings. Although he died young, he became one of the pioneers of the Romantic movement.
Born in Rouen, France, Géricault was educated in the tradition of English sporting art by Carle Vernet and classical figure composition by Pierre-Narcisse Guérin, a rigorous classicist who disapproved of his student's impulsive temperament yet recognized his talent. Géricault soon left the classroom, choosing to study at the Louvre instead, where (from 1810 to 1815) he copied from paintings by Peter Paul Rubens, Titian, Diego Velázquez, and Rembrandt. During this period at the Louvre he discovered a vitality he found lacking in the prevailing school of Neoclassicism. Much of his time was spent in Versailles, where he found the stables of the palace open to him, and where he gained his knowledge of the anatomy and action of horses.
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Théophile Gautier
Pierre Jules Théophile Gautier (pronounced: [pjɛʁ ʒyl teofil ɡotje]; August 30, 1811 – October 23, 1872) was a French poet, dramatist, novelist, journalist, art critic and literary critic.
While Gautier was an ardent defender of Romanticism, his work is difficult to classify and remains a point of reference for many subsequent literary traditions such as Parnassianism, Symbolism, Decadence and Modernism. He was widely esteemed by writers as diverse as Balzac, Baudelaire, the Goncourt brothers, Flaubert, Proust and Oscar Wilde.
Gautier was born on August 30, 1811, in Tarbes, capital of Hautes-Pyrénées département in southwestern France. His father, Pierre Gautier, was a fairly cultured minor government official and his mother was Antoinette-Adelaïde Concarde. The family moved to Paris in 1814, taking up residence in the ancient Marais district.
Gautier's education commenced at the prestigious Collège Louis-le-Grand in Paris (fellow alumni include Voltaire and Charles Baudelaire), which he attended for three months before being brought home due to illness. Although he completed the remainder of his education at Collège Charlemagne (alumni include Charles Augustin Sainte-Beuve), Gautier's most significant instruction came from his father, who prompted him to become a Latin scholar by age 18.
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Ugo Foscolo
Ugo Foscolo (Italian pronunciation: [ˈuɡo ˈfoskolo]; 6 February 1778 – 10 September 1827), born Niccolò Foscolo, was an Italian writer, revolutionary and poet.
Foscolo was born on the Ionian island of Zakynthos. His father was Andrea Foscolo, an impoverished Venetian nobleman, and his mother Diamantina Spathis was Greek.
In 1788, on the death of his father, who worked as a physician in Spalato, today Croatia (Split), the family removed to Venice, and at the University of Padua Foscolo completed the studies begun at the Dalmatian grammar school.
Amongst his Paduan teachers was the abbé Cesarotti, whose version of Ossian had made that work highly popular in Italy, and who influenced Foscolo's literary tastes; he knew both modern and Ancient Greek. His literary ambition revealed itself by the appearance in 1797 of his tragedy Tieste--a production which obtained a certain degree of success.
Foscolo, who, for causes not clearly explained, had changed his Christian name Niccolò to that of Ugo, now began to take an active part in the stormy political discussions which the fall of the republic of Venice had provoked. He was a prominent member of the national committees, and addressed an ode to Napoleon Bonaparte, expecting Napoleon to overthrow the Venetian oligarchy and create a free republic.
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Vasily Zhukovsky
Vasily Andreyevich Zhukovsky (Russian: Васи́лий Андре́евич Жуко́вский; IPA: [vɐˈsʲilʲɪj ɐˈndrʲejɪvʲɪtɕ ʐʊˈkofskʲɪj]; February 9 [O.S. January 29] 1783 – April 24 [O.S. April 12] 1852) was the foremost Russian poet of the 1810s and a leading figure in Russian literature in the first half of the 19th century. He held a high position at the Romanov court as tutor to the Grand Duchess Alexandra Feodorovna and later to her son, the future Tsar-Liberator Alexander II.
Zhukovsky is credited with introducing the Romantic Movement into Russia. The main body of his literary output consists of free translations covering an impressively wide range of poets, from ancients like Ferdowsi and Homer to his contemporaries Goethe, Schiller, Byron, and others. Many of his translations have become classics of Russian literature, arguably better-written and more enduring in Russian than in their original languages.
Zhukovsky was born in the village of Mishenskoe, in Tula Oblast, Russia, the illegitimate son of a landowner named Afanasi Bunin and his Turkish housekeeper Salkha. The Bunin family had a literary bent and some 90 years later produced the Nobel Prize-winning modernist writer Ivan Bunin. For reasons of social propriety, Zhukovsky was formally adopted by a family friend. He kept his adopted surname and patronymic for the rest of his life, even when later ennobled, eventually passing it on to his own children.
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Vera Timanova
Vera Viktorovna Timanova (18 February 1855 – 22 February 1942) was a Russian pianist.
Vera Timanova was born into a well-to-do family in Ufa, Bashkortostan, Russia, where she spent her childhood. She showed musical aptitude at an early age, and at age six began taking piano instruction from local teachers, with her first public performance at the age of only nine. About this concert she wrote in her autobiography "The announcement of the concert made a splash in the city. Tickets sold briskly and I earned my first thousand roubles. I performed Mozart's Concerto and several pieces. The success was complete" .
The child prodigy came to the attention of composer Anton Rubinstein who spoke highly of her potential. The two went on to become close friends. Rubinstein’s recommendation led to Timanova being sponsored to attend Carl Tausig's School of Advanced Piano Playing in Berlin by a local merchant. Subsequently, Timanova studied with Franz Liszt in Budapest and became a prominent performer in Russia, France, Austria, Britain, Germany and Turkey, while periodically returning to Ufa to perform; the last such trip was in 1896.
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Victor Hugo
Victor-Marie Hugo (French pronunciation: [viktɔʁ maʁi yɡo]) (26 February 1802 – 22 May 1885) was a French poet, playwright, novelist, essayist, visual artist, statesman, human rights activist[citation needed] and exponent of the Romantic movement in France.
In France, Hugo's literary fame comes first from his poetry but also rests upon his novels and his dramatic achievements. Among many volumes of poetry, Les Contemplations and La Légende des siècles stand particularly high in critical esteem, and Hugo is sometimes identified as the greatest French poet. Outside France, his best-known works are the novels Les Misérables and Notre-Dame de Paris (also known in English as The Hunchback of Notre-Dame).
Though a committed royalist when he was young, Hugo's views changed as the decades passed; he became a passionate supporter of republicanism[citation needed], and his work touches upon most of the political and social issues and artistic trends of his time. He is buried in the Panthéon.
Hugo was the third, illegitimate, son of Joseph Léopold Sigisbert Hugo (1774–1828) and Sophie Trébuchet (1772–1821); his brothers were Abel Joseph Hugo (1798–1855) and Eugène Hugo (1800–1837). He was born in 1802 in Besançon (in the region of Franche-Comté) and lived in France for the majority of his life. However, he decided to live in exile as a result of Napoleon III's Coup d'état at the end of 1851.
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Vincenzo Bellini
Vincenzo Salvatore Carmelo Francesco Bellini (3 November 1801 – 23 September 1835) was a Italian opera composer. A native of Catania in Sicily, his greatest works are I Capuleti ed i Montecchi (1830), La sonnambula (1831), Norma (1831), Beatrice di Tenda (1833), and I puritani (1835). Known for his long-flowing melodic lines, for which he was named "the Swan of Catania", Bellini was the quintessential composer of bel canto opera. He died in Puteaux, France at the age of 33, nine months after the premiere of his last opera, I puritani.
Born in Catania, Sicily, Bellini was a child prodigy from a highly musical family and legend has it he could sing an aria of Valentino Fioravanti at eighteen months. He began studying music theory at two, the piano at three, and by the age of five could apparently play well. Bellini's first five pieces were composed when he was just six years old. Regardless of the veracity of these claims, it is certain that Bellini grew up in a musical household and that a career as a musician was never in doubt.
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Walter Bache
Walter Bache ( /ˈbeɪtʃ/; 19 June 1842 – 26 March 1888) was an English pianist and conductor noted for his championing the music of Franz Liszt and other music of the New German School in England. He studied privately with Liszt in Italy from 1863 to 1865, one of the few students allowed to do so, and continued to attend Liszt's master classes in Weimar, Germany regularly until 1885, even after embarking on a solo career. This period of study was unparalleled by any other student of Liszt and led to a particularly close bond between Bache and Liszt. After initial hesitation on the part of English music critics because he was a Liszt pupil, Bache was publicly embraced for his keyboard prowess, even as parts of his repertoire were questioned.
Bache's major accomplishment was the establishment of Liszt's music in England, to which he selflessly devoted himself between 1865 and his death in 1888. This was at the height of the War of the Romantics, when conservative and liberal musical factions openly argued about the future of classical music and the merits of the compositions written in their respective schools. Bache featured several of the orchestral and choral works through an annual series of concerts, which he single-handedly funded, organized and promoted. Likewise, he played an annual series of solo recitals that incorporated Liszt's piano music.
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Walter Scott
Sir Walter Scott, 1st Baronet (15 August 1771 – 21 September 1832) was a Scottish historical novelist, playwright, and poet, popular throughout much of the world during his time.
Scott was the first English-language author to have a truly international career in his lifetime, with many contemporary readers in Europe, Australia, and North America. His novels and poetry are still read, and many of his works remain classics of both English-language literature and of Scottish literature. Famous titles include Ivanhoe, Rob Roy, The Lady of the Lake, Waverley, The Heart of Midlothian and The Bride of Lammermoor.
Born in College Wynd in the Old Town of Edinburgh in 1771, the son of a solicitor, Scott survived a childhood bout of polio in 1773 that left him lame. To cure his lameness he was sent in 1773 to live in the rural Borders region at his paternal grandparents' farm at Sandyknowe, adjacent to the ruin of Smailholm Tower, the earlier family home. Here he was taught to read by his aunt Jenny, and learned from her the speech patterns and many of the tales and legends that characterised much of his work. In January 1775 he returned to Edinburgh, and that summer went with his aunt Jenny to take spa treatment at Bath in England, where they lived at 6 South Parade. In the winter of 1776 he went back to Sandyknowe, with another attempt at a water cure at Prestonpans during the following summer.
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Washington Irving
Washington Irving (April 3, 1783 – November 28, 1859) was an American author, essayist, biographer and historian of the early 19th century. He is best known for his short stories "The Legend of Sleepy Hollow" and "Rip Van Winkle", both of which appear in his book The Sketch Book of Geoffrey Crayon, Gent. His historical works include biographies of George Washington, Oliver Goldsmith and Muhammad, and several histories of 15th-century Spain dealing with subjects such as Christopher Columbus, the Moors, and the Alhambra. Irving also served as the U.S. ambassador to Spain from 1842 to 1846.
He made his literary debut in 1802 with a series of observational letters to the Morning Chronicle, written under the pseudonym Jonathan Oldstyle. After moving to England for the family business in 1815, he achieved international fame with the publication of The Sketch Book of Geoffrey Crayon, Gent. in 1819. He continued to publish regularly—and almost always successfully—throughout his life, and completed a five-volume biography of George Washington just eight months before his death, at age 76, in Tarrytown, New York.
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Wikipedia Persondata
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Wilhelm Hauff
Wilhelm Hauff (29 November 1802 – 18 November 1827) was a German poet and novelist.
Hauff was born in Stuttgart, the son of August Friedrich Hauff, a secretary in the ministry of foreign affairs, and Hedwig Wilhelmine Elsaesser Hauff. He was the second of four children.
Young Hauff lost his father when he was seven years old, and his early education was practically self-gained in the library of his maternal grandfather at Tübingen, where his mother had moved after the death of her husband. In 1818 he was sent to the Klosterschule at Blaubeuren, and in 1820 began to study at the University of Tübingen. In four years he completed his philosophical and theological studies at the Tübinger Stift.
On leaving the university, Hauff became tutor to the children of the famous Württemberg minister of war, General Baron Ernst Eugen von Hugel (1774–1849), and for them wrote his Märchen (fairy tales), which he published in his Märchen almanach auf das Jahr 1826 (Fairytale Almanac of 1826). Some of these stories are very popular in German-speaking countries to this day, such as Der kleine Muck (The Story of Little Muck), Kalif Storch (Caliph Stork) and Die Geschichte von dem Gespensterschiff (The Tale of the Ghost Ship) — all set in the Orient; as well as Der Zwerg Nase (Little Longnose), Das kalte Herz (The Cold Heart) and Das Wirtshaus im Spessart (The Inn in the Spessart), set in Germany.
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Wilhelm von Kaulbach
Wilhelm von Kaulbach (October 15, 1805 Bad Arolsen, Waldeck – April 7, 1874) was a German painter, noted mainly as a muralist, but also as a book illustrator. His murals decorate buildings in Munich. He is associated with the Düsseldorf school of painting.
His father combined painting and engraving with the goldsmith's trade. The family was so poor that he and his sister were glad to accept even stale bread from the peasantry in exchange for the father's engravings. This is said to have suggested to him his earliest work, “The Fall of Manna in the Wilderness.” But means were found to place Wilhelm, a youth of seventeen, in the Düsseldorf Academy of Fine Arts, to which the sculptor Rauch had obtained him admission. The academy was then becoming renowned under the directorship of Peter von Cornelius, of whom he became a distinguished pupil. Young Kaulbach contended against hardships, even hunger. But his courage never failed; and, uniting genius with industry, he was ere long foremost among the young national party which sought to revive the arts of Germany.
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William Blake
William Blake (28 November 1757 – 12 August 1827) was an English poet, painter, and printmaker. Largely unrecognised during his lifetime, Blake is now considered a seminal figure in the history of both the poetry and visual arts of the Romantic Age. His prophetic poetry has been said to form "what is in proportion to its merits the least read body of poetry in the English language". His visual artistry has led one contemporary art critic to proclaim him "far and away the greatest artist Britain has ever produced". Although he lived in London his entire life except for three years spent in Felpham he produced a diverse and symbolically rich corpus, which embraced the imagination as "the body of God", or "Human existence itself".
Considered mad by contemporaries for his idiosyncratic views, Blake is held in high regard by later critics for his expressiveness and creativity, and for the philosophical and mystical undercurrents within his work. His paintings and poetry have been characterised as part of both the Romantic movement and "Pre-Romantic", for its large appearance in the 18th century. Reverent of the Bible but hostile to the Church of England – indeed, to all forms of organised religion – Blake was influenced by the ideals and ambitions of the French and American revolutions, as well as by such thinkers as Jakob Böhme and Emanuel Swedenborg. Despite these known influences, the singularity of Blake's work makes him difficult to classify. The 19th-century scholar William Rossetti characterised Blake as a "glorious luminary," and as "a man not forestalled by predecessors, nor to be classed with contemporaries, nor to be replaced by known or readily surmisable successors".
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William Wordsworth
William Wordsworth (7 April 1770 – 23 April 1850) was a major English Romantic poet who, with Samuel Taylor Coleridge, helped to launch the Romantic Age in English literature with the 1798 joint publication Lyrical Ballads.
Wordsworth's magnum opus is generally considered to be The Prelude, a semiautobiographical poem of his early years which he revised and expanded a number of times. It was posthumously titled and published, prior to which it was generally known as the poem "to Coleridge". Wordsworth was Britain's Poet Laureate from 1843 until his death in 1850.
The second of five children born to John Wordsworth and Ann Cookson, William Wordsworth was born on 7 April 1770 in Wordsworth House in Cockermouth, Cumberland—part of the scenic region in northwest England, the Lake District. His sister, the poet and diarist Dorothy Wordsworth, to whom he was close all his life, was born the following year, and the two were baptised together. They had three other siblings: Richard, the eldest, who became a lawyer; John, born after Dorothy, who went to sea and died in 1805 when the ship of which he was Master, the Earl of Abergavenny, was wrecked off the south coast of England; and Christopher, the youngest, who entered the Church and rose to be Master of Trinity College, Cambridge. Their father was a legal representative of James Lowther, 1st Earl of Lonsdale and, through his connections, lived in a large mansion in the small town. Wordsworth, as with his siblings, had little involvement with their father, and they would be distant from him until his death in 1783.
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Zygmunt Krasiński
Count Napoleon Stanisław Adam Ludwig Zygmunt Krasiński (Polish pronunciation: [ˈzɨɡmunt kraˈɕiɲskʲi]; Paris, France, 19 February 1812 – 23 February 1859, Paris, France), a Polish count, is traditionally ranked with Mickiewicz and Słowacki as one of Poland's Three National Bards — the trio of great Romantic poets who influenced national consciousness during the period of Poland's political bondage.
Krasiński was the son of a general, Count Wincenty Krasiński, of the aristocratic Krasiński family. He studied law at Warsaw University and in Geneva, where he met Adam Mickiewicz.
Krasiński was more sociopolitically conservative than the other two poets. He published much of his work anonymously.
He is best known for his philosophical Messianist ideas. His drama, Nie-boska Komedia (The Un-Divine Comedy, 1835), portrays the tragedy of an old-world aristocracy defeated by a new order of communism and democracy, and is a poetic prophecy of class conflict and of Russia's October Revolution (see also Okopy Świętej Trójcy); and his drama, Irydion (1836), deals, in the context of Christian ethics, with the struggle of a subjugated nation against its oppressor.
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Étienne Méhul
Étienne Nicolas Méhul (22 June 1763 – 18 October 1817) was a French composer, "the most important opera composer in France during the Revolution." He was also the first composer to be called a "Romantic".
Méhul was born at Givet in Ardennes to Jean-François Méhul, a wine merchant, and his wife Marie-Cécile (née Keuly). His first music lessons came from a blind local organist, but he had innate aptitude and was sent to study with a German musician and organist, Wilhelm Hanser, at the monastery of Lavaldieu, a few miles from Givet. Here Méhul developed his lifelong love of flowers.
In 1778 or 1779 he went to Paris and began to study with Jean-Frédéric Edelmann, a harpsichord player and friend of Méhul's idol Christoph Willibald von Gluck. Méhul's first published composition was a book of piano pieces in 1783. He also arranged airs from popular operas and by the late 1780s he had begun to think about an operatic career for himself.
In 1787, the writer Valadier offered Méhul one of his libretti, Cora, which had been rejected by Gluck in 1785. The Académie royale de musique (the Paris Opéra put Méhul's work, under the title Alonzo et Cora, into rehearsal in June 1789. However, the rehearsals were abandoned on 8 August, probably because the Opéra had been suffering severe financial difficulties throughout the 1780s, and the opera was not premiered until 1791. In the meantime, Méhul found an ideal collaborator in the librettist François-Benoît Hoffman, who provided the words to the first of Méhul's operas to be performed, Euphrosine. Its premiere in 1790 was an immense success and marked the composer out as a new talent. It was also the start of his long relationship with the Comédie Italienne theatre (soon to be renamed the Opéra-Comique).
wn.com/Étienne_Méhul
Liszt, Franz Filmography
- Chassé (2012)
- Titkolt történetek 1956-ból - Baktay és Nehru (2007)
- Metamorphosis: Beyond the Screen Door (1997)
- Die Meisen von Frau S. (1989)
- Stil (1986)
- Eszmélés (1984)
- A Faust Symphony (1976)
- Zongora a levegöben (1976)
- Az ember tragédiája (1969)
- Vesenniye golosa (1956)
- Der Zigeunerbaron (1954)
- Mephisto-valse (1951)
- Color Rhapsodie (1948)
- Due cuori fra le belve (1943)
- Kol Nidre (1939)
- Ave sin rumbo (1937)
- Szenzáció (1936)
- Kosmicheskiy reys: Fantasticheskaya novella (1936)
- Liebesträume (1935)
- Liebestraum (1932)
RELEASE
ALBUMS
BBC Music, Volume 8, Number 7: Beethoven, Mendelssohn, Liszt, and Schubert (feat. piano: Paul Lewis)
- Von der Wiege bis zum Grabe, S 107: I. Die Wiege
- Von der Wiege bis zum Grabe, S 107: II. Der Kampf um's Dasein
- Von der Wiege bis zum Grabe, S 107: III. Zum Grabe: Die Wiege des zukünftigen Lebens
- Trois Odes funèbres, S 112: Les morts—Oraison
- Trois Odes funèbres, S 112: La notte
- Trois Odes funèbres, S 112: Le triomphe funèbre du Tasse
- Zwei Episoden aus Lenau's Faust, S 110: Der nächtliche Zug
- Zwei Episoden aus Lenau's Faust, S 110: Der Tanz in der Dorfschenke—Erster Mephisto-Walzer
- Piano Concerto No.2 in A, S.125 - 1. Adagio sostenuto assai
- Piano Concerto No.2 in A, S.125 - 2. Allegro agitato assai
- Piano Concerto No.2 in A, S.125 - 3. Allegro moderato
- Piano Concerto No.2 in A, S.125 - 4. Allegro deciso
- Piano Concerto No.2 in A, S.125 - 5. Marziale un poco meno Allegro
- Piano Concerto No.2 in A, S.125 - 6. Allegro animato
- Piano Concerto No.1 in E flat, S.124 - 1. Allegro maestoso
- Piano Concerto No.1 in E flat, S.124 - 2. Quasi Adagio
- Piano Concerto No.1 in E flat, S.124 - 3. Allegretto Vivace - Allegro Animato
- Piano Concerto No.1 in E flat, S.124 - 4. Allegro marziale animato
- 6 Consolations, S. 172 - No. 3 in D flat major (Lento, placido)
- Valse oubliée No.1 in F sharp, S.215
- Prelude op. 28/4
- Symphonische Dichtung Prometheus
- Messe für die Orgel: Kyrie
- Messe für die Orgel: Gloria
- Messe für die Orgel: Graduale
- Messe für die Orgel: Credo
- Messe für die Orgel: Offertorium (Ave Maria)
- Messe für die Orgel: Sanctus
- Messe für die Orgel: Benedictus
- Messe für die Orgel: Agnus Dei
- Fuge über den Choral Ad nos, ad salutarem undam
- Prelude op. 28/9
- Suisse S160 01 Chappelle de Guilaume Tell
- Suisse S160 02 Au lac de Wallenstadt
- Suisse S160 03 Pastorale
- Suisse S160 04 Au bord d'une source
- Suisse S160 05 Orage
- Suisse S160 06 Valee d'Obermann
- Suisse S160 07 Eglogue
- Suisse S160 08 Le mal du pays
- Suisse S160 09 Les cloches de Geneve
- Italie S161 01 Sposalizio
- Italie S161 02 Il Penseroso
- Italie S161 03 Canzonetta del Salvator Rosa
- Italie S161 04 Sonetto 47 del Petrarca
- Italie S161 05 Sonetto 104 del Petrarca
- Italie S161 06 Sonetto 123 del Petrarca
- Hungarian Rhapsody No.2
- Liebestraum No.3
- 'La Campanella'
- Consolation No.3
- Gnomenreigen
- Les jeux d'eau a la Villa d'Este
- Sposalizio
- Au bord d'une source
- Un sospiro
- Mephistro Waltz No.1
- Petrarch Sonnet No. 104
- Hungarian Rhapsody No. 12
- Après une lecture de Dante: Fantasia quasi sonata (Années de Pèlerinage, Second Year, Italy, S.161)
- Vallée d'Obermann (Années de Pèlerinage, First Year, Switzerland, S.160)
- Les Jeux d'eaux à la Villa d'Este (Années de Pèlerinage, Third Year, S.163)
- Sonata in B minor, S.178
- Legend: St. Francis of Assisi’s Sermon to the Birds for Orchestra, S. 354 No. 1
- Totentanz: Paraphrase on Dies irae for Piano and Orchestra, S. 126: I. Andante – Allegro alla breve – Allegro moderato
- Totentanz: Paraphrase on Dies irae for Piano and Orchestra, S. 126: II. Variation I. Allegro moderato
- Totentanz: Paraphrase on Dies irae for Piano and Orchestra, S. 126: III. Variation II
- Totentanz: Paraphrase on Dies irae for Piano and Orchestra, S. 126: IV. Variation III. Molto vivace
- Totentanz: Paraphrase on Dies irae for Piano and Orchestra, S. 126: V. Variation IV. Lento
- Totentanz: Paraphrase on Dies irae for Piano and Orchestra, S. 126: VI. Variation V. Vivace – Cadenza – Sempre allegro (ma non troppo) – Un poco meno allegro – Cadenza – Allegro animato
- Symphonic Poem No. 6 for Orchestra, S. 100 “Mazeppa”
- Symphonic Poem No. 11 for Orchestra, S. 105 “The Battle of the Huns”
- Concerto for Piano No. 1 in E flat major: I. Allegro maestoso
- Concerto for Piano No. 1 in E flat major: II. Quasi adagio - Allegretto vivace - Allegro animato
- Concerto for Piano No. 1 in E flat major: III. Allegro marziale animato - Presto
- Concerto for Piano No. 2 in A major: I. Adagio sostenuto assai - Allegro agitato assai
- Concerto for Piano No. 2 in A major: II. Allegro moderato - Allegro deciso
- Concerto for Piano No. 2 in A major: III. Marziale un poco meno allegro
- Concerto for Piano No. 2 in A major: IV. Allegro animato - Stretto (molto accelerando)
- Totentanz (Danse macabre)
- Waldesrauschen, S.145/1
- Sonetto 104 del Petrarca, S.161/5
- Valse oubliée in F sharp major, S.215/1
- Ballade No. 2 in B minor, S.171
- Au lac de Wallenstadt, S.160/2
- Hungarian Rhapsody No. 3, S.244/3
- 6 Consolations, S.172: No. 1 in E major (Andante con moto)
- 6 Consolations, S.172: No. 2 in E major (Un poco più mosso)
- 6 Consolations, S.172: No. 3 in D flat major (Lento, placido)
- 6 Consolations, S.172: No. 4 in D flat major (Quasi adagio)
- 6 Consolations, S.172: No. 5 in E major (Andantino)
- 6 Consolations, S.172: No. 6 in E major (Allegretto, sempre cantabile)
- Harmonies du soir, S.139/11
- Variation über einen Walzer von Diabelli, S147
- Walzer, S208a
- Fünf Variationen über die Romanze aus der Oper "Joseph" von Méhul, S747a
- Huit Variations {on an original theme}, S148 Op. 1
- Sept Variations brillantes sur un thème de Rossini {from "Ermione"}, S149 Op. 2
- Impromptu brillant sur des thèmes de Rossini et Spontini, S150 Op. 3
- Allegro di bravura, S151 Op. 4 No. 1
- Rondo di bravura, S152 Op. 4 No. 2
First Piano Concertos (Münchner Phillarmoniker feat. conductor: Thomas Hengelbrock, piano: Alice Sara Ott)
Released 2010
Released 2010
- Piano Concerto No. 1 in B-flat minor, Op. 23: I. Allegro non troppo e molto maestoso - Allegro con spirito
- Piano Concerto No. 1 in B-flat minor, Op. 23: II. Andantino simplice - Prestissimo - Tempo I
- Piano Concerto No. 1 in B-flat minor, Op. 23: III. Allegro con fuoco
- Piano Concerto No. 1 in E-flat major, S. 124: I. Allegro maestoso, tempo giusto
- Piano Concerto No. 1 in E-flat major, S. 124: II. Quasi adagio - Allegro vivace - Allegro animato
- Piano Concerto No. 1 in E-flat major, S. 124: III. Allegro marziale animato - Presto
- Konzert-Paraphrase über Verdis "Rigoletto", S. 434
- Konzert-Walzer über zwei Themen aus Donizettis "Lucia und Parisina", S. 401
- Fantasie über den Walzer aus Gounods "Faust", S. 407
- Polonaise aus Tschaikowskys "Eugen Onegin", S. 262
- Spinnerin-Lied, Transkripition aus Wagners "Der fliegende Holländer", S. 440
- Lied an den Abendstern, Rezitativ und Romanze aus Wagners "Tannenhäuser", S. 444
- Lohengrins Verweis aus Wagners "Lohengrin", S. 446
- Isoldes Liebestod, Transkription aus Wagners "Tristan und Isolde", S. 447
- Fantasie über 2 Motive aus Mozarts "Le nozze di Figaro" ergänzt durch F. Busoni
Piano Sonata in B minor / 6 Paganini Etudes / Mephisto Waltz No. 1 (piano: Agustin Anievas)
Released 2009
Released 2009
- Piano Sonata in B minor
- 6 Etudes d'execution transcendente d'apres Paganini: I. No. 1 in G minor "Tremolo"
- 6 Etudes d'execution transcendente d'apres Paganini: II. No. 2 in E-flat major "Octave"
- 6 Etudes d'execution transcendente d'apres Paganini: III. No. 3 in A-flat minor "La Campanella"
- 6 Etudes d'execution transcendente d'apres Paganini: IV. No. 4 in E major "Arpeggio"
- 6 Etudes d'execution transcendente d'apres Paganini: V. No. 5 in E major "La Chasse"
- 6 Etudes d'execution transcendente d'apres Paganini: VI. No. 6 in A minor "Theme & Variations"
- Hungarian Rhapsody No. 12 in C-sharp minor
- Consolation No. 3 in D-flat major
- Mephisto Waltz No. 1
- Funérailles (Octobre 1849)
- Consolation
- Waldesrauschen
- Gnomenreigen
- Isoldens Liebestod
- La leggierezza
- Bénédiction de Dieu dans la solitude
- Faust: Lento Assai - Allegro impetuoso - Allegro agitato ed appassionato assai
- Gretchen : Andante soave
- Mephistopheles: Allegro vivace ironico - Andante mistico
- Tre sonetti del Petrarca: Sonetto 47 "Benedetto sia' l giorno"
- Tre sonetti del Petrarca: Sonetto 104 "Pace non trovo"
- Tre sonetti del Petrarca: Sonetto 123 "I' vidi in terra angelici costumi"
- St François d'Assise: La Prédication aux oiseaux
- Après une lecture du Dante (Fantasia quasi sonata)
- Verdi transcriptions: Aida "Danza sacra e duetto finale" S436
- Verdi transcriptions: "Miserere du Trovatore" S433
- Verdi transcriptions: Rigoletto "Concert Paraphrase" S434
- Mephisto Waltz No. 1, S. 514 "Der Tanz in der Dorfschenke"
- Etude No. 3 in A-flat minor, S. 141 "La Campanella"
- Transcendental Etude No. 11 in D-flat, S. 139 "Harmonies du soir"
- Transcendental Etude No. 5 in B-flat, S. 139 "Feux follets"
- Piano Sonata in B minor, S. 178: I. Lento assai
- Piano Sonata in B minor, S. 178: II. Recitativo
- Piano Sonata in B minor, S. 178: III. Andante sostenuto
- Piano Sonata in B minor, S. 178: IV. Allegro energico
- Piano Sonata in B minor, S. 178: V. Cantando espressivo
- Piano Sonata in B minor, S. 178: VI. Andante sostenuto
BBC Music, Volume 13, Number 10: Beethoven, Liszt and Schubert: Piano Recital (feat. piano: Llyr Williams)
Released 2005
Released 2005
- Piano sonata No. 13 in E-flat, Op. 27 No. 1, Quasi una fantasia: I. Andante; Allegro; Tempo I
- Piano sonata No. 13 in E-flat, Op. 27 No. 1, Quasi una fantasia: II. Allegro molto e vivace
- Piano sonata No. 13 in E-flat, Op. 27 No. 1, Quasi una fantasia: III. Adagio con espressione
- Piano sonata No. 13 in E-flat, Op. 27 No. 1, Quasi una fantasia: IV. Allegro vivace; Tempo I; Presto
- Piano sonata in B minor: I. Lento assai - allegro energico
- Piano sonata in B minor: II. Andante sostenuto - quasi adagio
- Piano sonata in B minor: III. Allegro energico
- Fantasy in C, D 760 (Wanderer): I. Allegro con fuoco ma non troppo
- Fantasy in C, D 760 (Wanderer): II. Adagio
- Fantasy in C, D 760 (Wanderer): III. Presto
- Fantasy in C, D 760 (Wanderer): IV. Allegro
- Ungarische Rhapsodie Nr.6 Des-dur
- Valse Impromptu
- Consolation Nr.2 E-dur
- Consolation Nr.3 Des-dur
- Rigoletto Paraphrase
- La Campanella
- Ungarische Rhapsodie No.15 a-moll (Rakoczy- Marsch)
- Polonaise No.2 E-dur
- 'Don Juan' -Fantasie
- Der heilige Franziskus von Paula über die Wogen schreitend
- Paganini-Etüde Nr.2 Es-dur
Harmonies poétiques et religieuses / Légendes / Consolations / Paraphrases d'opéras (piano : Aldo Ciccolini)
Released 2002
Released 2002
- Harmonies poétiques et religieuses: Partie I, Invocation
- Harmonies poétiques et religieuses: Partie II, Ave Maria
- Harmonies poétiques et religieuses: Partie III, Bénédiction de Dieu
- Harmonies poétiques et religieuses: Partie IV, Pensée des morts
- Harmonies poétiques et religieuses: Partie V, Pater noster
- Harmonies poétiques et religieuses: Partie VI, Hymne de l'enfant à son réveil
- Harmonies poétiques et religieuses: Partie VII, Funérailles
- Harmonies poétiques et religieuses: Partie VIII, Miserere d'après Palestrina
- Harmonies poétiques et religieuses: Partie IX, Andante lagrimoso
- Harmonies poétiques et religieuses: Partie X, Cantique d'amour
- Rhapsodies Hongroises, S 244: No. 1 en Mi majeur
- Rhapsodies Hongroises, S 244: No. 2 en Ut dièse mineur
- Rhapsodies Hongroises, S 244: No. 3 en Si bémol majeur
- Rhapsodies Hongroises, S 244: No. 4 en Mi bémol majeur
- Rhapsodies Hongroises, S 244: No. 5 en Mi majeur
- Rhapsodies Hongroises, S 244: No. 6 en Ré bémol majeur
- Rhapsodies Hongroises, S 244: No. 7 en Ré mineur
- Rhapsodies Hongroises, S 244: No. 8 en Fa dièse mineur, "Capriccio"
- Rhapsodies Hongroises, S 244: No. 9 en Mi bémol majeur, "Carnaval de Pesth"
BBC Music, Volume 8, Number 7: Beethoven, Mendelssohn, Liszt, and Schubert (feat. piano: Paul Lewis)
Released 2000
Released 2000
- Piano Sonata No. 26 in E-flat major, Op. 81a "Les Adieux": I. Das Lebewohl. Adagio - Allegro
- Piano Sonata No. 26 in E-flat major, Op. 81a "Les Adieux": II. Die Abwesenheit. Andante espressivo
- Piano Sonata No. 26 in E-flat major, Op. 81a "Les Adieux": III. Das Wiedersehn. Vivacissimamente
- Song without Words: I. Adagio non troppo, Op. 30/3
- Song without Words: II. Agitato e con fuoco, Op. 30/4
- Song without Words: III. Presto agitato, Op. 53/3
- Song without Words: IV. Andanta grazioso, Op. 62/6
- Song without Words: V. Allegro vivace, Op. 102/5 (Kinderstück)
- Bagatelle sans tonalité
- La lugubre gondola II
- Piano Sonata in A minor, D537: I. Allegro ma non troppo
- Piano Sonata in A minor, D537: II. Allegretto, quasi andantino
- Piano Sonata in A minor, D537: III. Allegro vivace
- Fantasia and fugue in G minor, BWV 542: I. Fantasia
- Fantasia and fugue in G minor, BWV 542: II. Fugue
- Fantasia and Fugue on 'Ad nos, ad salutarem undam': I. Fantasia
- Fantasia and Fugue on 'Ad nos, ad salutarem undam': II. Adagio
- Fantasia and Fugue on 'Ad nos, ad salutarem undam': III. Fugue
- Fantasia and Fugue on 'Ad nos, ad salutarem undam': IV. Vivace molto
- Fugue in A-flat minor
- Fugue, Fantasy & Chorale: I. Fugue
- Fugue, Fantasy & Chorale: II. Fantasy
- Fugue, Fantasy & Chorale: III. Chorale
The Complete Music for Solo Piano, Volume 53b: Music for Piano and Orchestra 2 (Leslie Howard)
Released 1998
Released 1998
- Concerto No.2 in A major S125 (1839-49-53-57-61): Adagio sostenuto assai - Un poco più mosso
- Concerto No.2 in A major S125 (1839-49-53-57-61): L'istesso tempo
- Concerto No.2 in A major S125 (1839-49-53-57-61): Allegro agitato assai - Un poco più mosso - Tempo del Andante
- Concerto No.2 in A major S125 (1839-49-53-57-61): Allegro moderato - In tempo
- Concerto No.2 in A major S125 (1839-49-53-57-61): Allegro deciso - L'istesso tempo
- Concerto No.2 in A major S125 (1839-49-53-57-61): Sempre allegro - Marziale, un poco meno allegro - Un poco animato
- Concerto No.2 in A major S125 (1839-49-53-57-61): Un poco meno mosso - Allegro animato - Stretto - Sempre animato
- De Pofundis - Psaume instrumental pour orchestre et piano principal, S691 (1834/5): Andante
- De Pofundis - Psaume instrumental pour orchestre et piano principal, S691 (1834/5): L'istesso tempo
- De Pofundis - Psaume instrumental pour orchestre et piano principal, S691 (1834/5): Cadenza del pianoforte - A tempo
- De Pofundis - Psaume instrumental pour orchestre et piano principal, S691 (1834/5): Allegro moderato (Tempo di polacca)
- De Pofundis - Psaume instrumental pour orchestre et piano principal, S691 (1834/5): Tempo primo
- De Pofundis - Psaume instrumental pour orchestre et piano principal, S691 (1834/5): Allegro marziale
- Franz Schubert's Grosse Fantasie 'Wanderer' (Op.15, 1822) arranged for piano and orchestra by Liszt, S366 (1851): Allegro con fuoco ma non troppo
- Schubert's Grosse Fantasie 'Wanderer' (Op.15, 1822) arranged for piano and orchestra by Liszt, S366 (1851): Adagio
- Schubert's Grosse Fantasie 'Wanderer' (Op.15, 1822) arranged for piano and orchestra by Liszt, S366 (1851): Presto
- Schubert's Grosse Fantasie 'Wanderer' (Op.15, 1822) arranged for piano and orchestra by Liszt, S366 (1851): Allegro
- Eine Faust-Symphonie: I. Faust. Lento assai
- Eine Faust-Symphonie: II. Gretchen. Andante soave
- Eine Faust-Symphonie: III. Mephistopheles. Allegro vivace, ironico
- Eine Faust-Symphonie: IV. Andante mistico
- Les Préludes
- Années de pèlerinage, troisième année, S163/R10: No. 4. Les jeux d'eaux à la Villa d'Este
- Piano concerto No. 1 in E-flat major, S124/R455: Allegro maestozo - tempo giusto
- Liebestraume, S541/R211: No. 3. Nocturne in A flat major
- 6 Hungarian Rhapsodies, S359/R441: No. 2 in D minor
- Grandes etudes de paganini, S141/R3b: No. 3 in G-sharp minor, "La campanella"
- Piano Concerto No. 2 in A major, S125/R456: Adagio sostenuto assai
- 6 Hungarian Rhapsodies, S359/R441: No. 6 in D major, "Pesther Carneval"
- Ballades: No.1 in F minor, Op. 23
- Ballades: No. 2 in F/A minor, Op. 38
- Ballades: No. 3 in A flat, Op. 47
- Ballades: No. 4 in F minor, Op. 52
- Années de pèrinage: deuxième année, Italie 1. Sposalizio
- Années de pèrinage: deuxième année, Italie 2. Il penseroso
- Années de pèrinage: deuxième année, Italie 3. Canzonetta del Salvator Rosa
- Années de pèrinage: deuxième année, Italie 4. Petrarch Sonnet No.47
- Années de pèrinage: deuxième année, Italie 5. Petrarch Sonnet No.104
- Années de pèrinage: deuxième année, Italie 6. Petrarch Sonnet No.123
- Années de pèrinage: deuxième année, Italie 7. Après une lecture du Dante, fantasia quasi sonata
The Complete Music for Solo Piano, Volume 39: Première Année de Pèlerinage - Suisse / Trois morceaux suisses (Leslie Howard)
Released 1996
Released 1996
- Années de pèlerinage, première année – Suisse, S 160: I. Chapelle de Guillaume Tell
- Années de pèlerinage, première année – Suisse, S 160: II. Au lac de Wallenstadt
- Années de pèlerinage, première année – Suisse, S 160: III. Pastorale
- Années de pèlerinage, première année – Suisse, S 160: IV. Au bord d'une source
- Années de pèlerinage, première année – Suisse, S 160: V. Orage
- Années de pèlerinage, première année – Suisse, S 160: VI. Vallée d'Obermann
- Années de pèlerinage, première année – Suisse, S 160: VII. Eglogue
- Années de pèlerinage, première année – Suisse, S 160: VIII. Le mal du pays (Heimweh)
- Années de pèlerinage, première année – Suisse, S 160: IX. Les cloches de Genève – Nocturne
- Trois Morceaux suisses, S 156a: No. 1. Ranz de vaches – Mélodie de Ferdinand Huber, avec variations
- Trois Morceaux suisses, S 156a: No. 2. Un soir dans la montagne – Mélodie d’Ernest Knop – Nocturne
- Trois Morceaux suisses, S 156a: No. 3. Ranz de chèvres – Mélodie de Ferdinand Huber – Rondeau
- Consolation No.3
- Sonetto 104 del Petrarca
- Les Jeux deau a la Villa d Este
- Au Bord d'une Source
- Gnomenreigen
- Un sospiro
- Rigoletto
- Sonata in b minoe - Lento assai
- Sonata in b minoe - Andante sostenuto
- Sonata in b minoe - Fugato
- Variation on a Waltz by Diabelli, S 147
- Waltz in A, S 208a
- Variations on a theme from Méhul’s Joseph, S 147a
- Eight Variations, Op. 1 S 148
- Seven Brilliant Variations on a theme by Rossini, Op. 2 S 149
- Impromptu brillant on themes by Rossini and Spontini, Op. 3 S 150
- Allegro di Bravura, Op. 4 No. 1 S 151
- Rondo di Bravura, Op. 4 No. 1 S 152
- Symphonic Poem No. 5: Prometheus
- Symphonic Poem No. 7: Festklange
- Symphonic Poem No. 6: Mazeppa
- Symphonic Poem No. 8: Heroide funebre
- Fantasia on Hungarian Folk Themes
- Concerto for Piano and Orchestra No. 1 in E-flat major: I. Allegro maestoso
- Concerto for Piano and Orchestra No. 1 in E-flat major: II. Quasi Adagio
- Concerto for Piano and Orchestra No. 1 in E-flat major: III. Allegretto vivace
- Concerto for Piano and Orchestra No. 1 in E-flat major: IV. Allegro marziale animato
- Concerto for Piano and Orchestra No. 2 in A major: I. Adagio sostenuto assai - Allegro agitato assai
- Concerto for Piano and Orchestra No. 2 in A major: II. Allegro moderato
- Concerto for Piano and Orchestra No. 2 in A major: III. Allegro deciso - Marziale, un poco meno Allegro
- Concerto for Piano and Orchestra No. 2 in A major: VI. Allegro animato
- Totentanz
- Troisième année - Angelus! Prière aux anges gardiens
- Troisième année - Aux cyprès de la Villa d'Este I: Threnody
- Troisième année - Aux cyprès de la Villa d'Este II: Threnody
- Troisième année - Les jeux d'eau à la Villa d'Este
- Troisième année - Sunt lacrymae rerum (en mode hongrois)
- Troisième année - March funèbre
- Troisième année - Sursum corda
- Première Année - Suisse - La Chapelle De Guillaume Tell
- Première Année - Suisse - Au Lac De Wallenstadt
- Première Année - Suisse - Pastorale
- Première Année - Suisse - Au Bord D'une Source
- Première Année - Suisse - Orage
- Première Année - Suisse - Vallée D'Obermann
- Première Année - Suisse - Éclogue
- Première Année - Suisse - Le Mal Du Pays
- Première Année - Suisse - Les Cloches De Genève
- Hungarian Rhapsody No.1 in C sharp minor
- Hungarian Rhapsody No.2 in C sharp minor
- Hungarian Rhapsody No.3 in B flat major
- Hungarian Rhapsody No.4 in E flat major
- Hungarian Rhapsody No.5 in E minor "Heroïde-Élégiaque"
- Hungarian Rhapsody No.6 in D flat major
- Hungarian Rhapsody No.7 in D minor
- Hungarian Rhapsody No.8 in F sharp minor
- Hungarian Rhapsody No.9 in E flat major "Pester Carneval"
Sonata in B minor / Tre Sonetti del Petrarca / La predication aux oiseaux (piano: Vladimir Feltsman)
Released 1989
Released 1989
- Piano Sonata in B minor, S. 178: I. Lento assai, allegro energico
- Piano Sonata in B minor, S. 178: II. Andante sostenuto
- Piano Sonata in B minor, S. 178: III. Allegro energico
- Petrarch Sonnets, for piano, S.158: I. Sonetto 47 del Petrarca
- Petrarch Sonnets, for piano, S.158: II. Sonetto 104 del Petrarca
- Petrarch Sonnets, for piano, S.158: III. Sonetto 123 del Petrarca
- St François d'Assise: la prédication aux oiseaux, for piano, S. 175 No. 1
- Fantasia e Fuga sul Tema B.A.C.H. (S. 529, seconda versione)
- "Litanei" (da Schubert) (S. 562)
- Variazioni sul Tema di Bach "Weinen, klagen, sorgen, zagen" (S. 180)
- Berceuse (S. 174, seconda versione)
- "Réminiscences des Puritains" (S. 390)
- Andante maestoso 'Vexilla Regis prodeunt'
- Station I: Jesus wird zum Tode verdammt
- Station II: Jesus trägt sein Kreuz
- Station III: Jesus fält zum ersten Mal
- Station IV: Jesus begegnet seine heiligen Mutter
- Station V: Simon von Kyrene hilft Jesus das Kreuz tragen
- Station VI: Sancta Veronica
- Station VII: Jesus fällt zum zweiten Mal
- Station VIII: Die Frauen von Jerusalem
- Station IX: Jesus fällt zum dritten Mal
- Station X: Jesus wird entkleidet
- Station XI: Jesus wird ans Kreuz geslagen
- Station XII: Jesus stirbt am Kreuze
- Station XIII: Jesus wird vom Kreuz genommen
- Station XIV: Jesus wird ins Grab gelegt
- Aux Cyprès de la Villa d'Este I ("Années de Pèlerinage" 3e année Nr. 2)
- Les jeux d'eau à la Villa d'Este ("Années de Pèlerinage" 3e année Nr. 4)
- Sunt lacrymae rerum ("Années de Pèlerinage" 3e année Nr. 5)
- Schlummerlied ("Arbre de Noël" Nr. 7)
- "Valse oubliée" Nr. 1 Fis-dur
- Unstern, Sinistre - Disastro
- Schlaflos! Frage und Antwort
- Mosonyis Grabgeleit
- Csárdás macabre
- Sonata in B minor
- Bénédiction de Dieu dans la solitude
- Deux légendes: St. François d'Assise: la prédication aux oiseaux
- Deux légendes: St. François de Paule: marchant sur les flots
- Consolation No. 3 in D-flat major
- Liebestraum No. 3 in A-flat major
- Un sospiro
- Étude d’exécution transcendante No. 4 in D minor: Mazeppa
- Étude d’exécution transcendante No. 9 in A-flat major: Ricordanza
- Étude d’exécution transcendante No. 11 in D-flat major: Harmonies du Soir
- Liebeslied (Widmung)
- Ständchen
- Piano Concerto No. 1 in E flat: i. Allegro maetoso
- Piano Concerto No. 1 in E flat: ii. Quasi adagio
- Piano Concerto No. 1 in E flat: iii. Allegro vivace
- Piano Concerto No. 1 in E flat: iv. Allegro animato
- Piano Concerto No. 1 in E flat: v. Allegro marziale
- Piano Concerto No. 2 in A: i. Adagio sostenuto assai
- Piano Concerto No. 2 in A: ii. Allegro agitato assai
- Piano Concerto No. 2 in A: iii. Allegro moderato
- Piano Concerto No. 2 in A: iv. Allegro deciso
- Piano Concerto No. 2 in A: v. Marziale un poco meno allegro
- Piano Concerto No. 2 in A: vi. Allegro Animato
- Hungarian Rhapsody No.2
- Grandes Etudes de Paganini No.3 in G Sharp Minor - La campanella
- Liebestraeum No.3 in A Flat
- Mephisto Waltz No.1 in A
- Piano Concerto No.2 in A - 1st movement
- Piano Concerto No.1 in E Flat - 3rd movement
- Concert Study No.2 - Gnomenreigen
- Annees de Pelerinage, Book II, No.6 - Sonnet 123 by Petrarch
- Valse Oubliee No.1 in F Sharp
- Symphonic Poem, Les Preludes
- Reminiscences de 'Robert le Diable' de Meyerbeer - Valse infernale
- Gnomenreigen
- Mephisto Polka
- Mephisto Waltz No.1
- Réminiscences de 'Don Juan' (Mozart)
- Waltz From Gounod's
- Part 1: Lento Assai - Allegro Energico - Grandioso
- Part 6: Allegro Energico (concluded) - Andante Sostenuto - Allegro Moderato - Lento Assai
- Concerto for Piano and Orchestra, Op 42: Andante
- Concerto for Piano and Orchestra, Op 42: Molto allegro
- Concerto for Piano and Orchestra, Op 42: Adagio
- Concerto for Piano and Orchestra, Op 42: Giocoso [Moderato]
- Concerto for Piano and Orchestra No. 2 in A major: Adagio sostenuto assai - Allegro agitato assai
- Concerto for Piano and Orchestra No. 2 in A major: Allegro moderato
- Concerto for Piano and Orchestra No. 2 in A major: Allegro deciso - Marziale un poco meno Allegro
- Concerto for Piano and Orchestra No. 2 in A major: Allegro animato
- Concerto for Piano and Orchestra No. 1 in A-flat major: Allegro maestoso
- Concerto for Piano and Orchestra No. 1 in A-flat major: Quasi Adagio
- Concerto for Piano and Orchestra No. 1 in A-flat major: Allegretto vivace - Allegro animato
- Concerto for Piano and Orchestra No. 1 in A-flat major: Allegretto marziale animato
- Sonata in B minor
- I. Danse russe
- II. Chez Petrouchka
- III. La Semaine grasse
- Hungarian Rhapsody No. 2
- Concerto for Piano and Orchestra No. 1 in E-flat major, S 124: I. Allegro maestoso. Tempo giusto
- Concerto for Piano and Orchestra No. 1 in E-flat major, S 124: II (1). Quasi Adagio
- Concerto for Piano and Orchestra No. 1 in E-flat major, S 124: II (2). Allegro vivace - Allegro animato
- Concerto for Piano and Orchestra No. 1 in E-flat major, S 124: III. Allegro marziale animato - Presto
- Concerto for Piano and Orchestra No. 2 in A major, S 125: (1) Adagio sostenuto assai
- Concerto for Piano and Orchestra No. 2 in A major, S 125: (2) Allegro agitato assai
- Concerto for Piano and Orchestra No. 2 in A major, S 125: (3) Allegro moderato
- Concerto for Piano and Orchestra No. 2 in A major, S 125: (4) Allegro deciso
- Concerto for Piano and Orchestra No. 2 in A major, S 125: (5) Marziale un poco meno allegro
- Concerto for Piano and Orchestra No. 2 in A major, S 125: (6) Allegro animato - Stretto (molto accelerando)
- Totentanz, S 126: Andante - Cadenza. Presto - Allegro - Var. I. Allegro moderato - Var. II - Var. III. Molto vivace - Var. IV. Lento - Variation V. Vivace. Fugato - Var. VI. Sempre allegro (ma non troppo) - Allegro animato
- Fantasy on Hungarian Folk Melodies, S123: Andante mesto - Adagio - Cadenza. Allegro molto - Allegro eroico - Molto adagio, quasi fantasia - Moderato - Vivace assai
Born: 1811-10-22
Died: 1886-07-31
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Franz Liszt - Liebestraum - Love Dream
- Order: Reorder
- Duration: 5:50
- Updated: 05 Jan 2013
Franz Liszt - Liebestraum - Love Dream
http://wn.com/Franz_Liszt_Liebestraum_Love_Dream
Franz Liszt - Hungarian Rhapsody No.2 (Orchestra version)
- Order: Reorder
- Duration: 10:32
- Updated: 05 Jan 2013
Franz Liszt Hungarian Rhapsody No. 2 in C- Sharp Minor Franz Liszt, 1811-1886. Regarded as the greatest pianist of all time, Listz's genius extended far beyond the piano to expand musical composition and performance well beyond its 19th century limitations.
http://wn.com/Franz_Liszt_Hungarian_Rhapsody_No2_Orchestra_version
Franz Liszt Hungarian Rhapsody No. 2 in C- Sharp Minor Franz Liszt, 1811-1886. Regarded as the greatest pianist of all time, Listz's genius extended far beyond the piano to expand musical composition and performance well beyond its 19th century limitations.
- published: 15 Nov 2007
- views: 3350309
- author: 0OoFACUoO0
Franz Liszt - Hungarian Rhapsody no.2 (The Perfect Version)
- Order: Reorder
- Duration: 10:32
- Updated: 05 Jan 2013
Found this piece in my PC and decided to upload it. I don't know who is the piano player, but he/she plays the rhapsody very good.
http://wn.com/Franz_Liszt_Hungarian_Rhapsody_no2_The_Perfect_Version
Found this piece in my PC and decided to upload it. I don't know who is the piano player, but he/she plays the rhapsody very good.
- published: 09 Dec 2009
- views: 494495
- author: jazzkosova
Franz Liszt - Les préludes
- Order: Reorder
- Duration: 16:34
- Updated: 02 Jan 2013
Happy 200th Birthday to Franz Liszt! Franz Liszt (October 22, 1811 -- July 31, 1886) was a 19th-century Hungarian composer, pianist, conductor, and teacher. Liszt became renowned throughout Europe during the nineteenth century for his virtuosic skill as a pianist. He was said by his contemporaries to have been the most technically advanced pianist of his age and perhaps the greatest pianist of all time. Les préludes. Les préludes is the third of Franz Liszt's thirteen symphonic poems. Directed by Liszt himself, in April 1856 the score, and in January 1865 the orchestral parts, were published by Breitkopf & Härtel, Leipzig. Among Liszt's symphonic poems, Les préludes is the most popular. Conductor: Michel Plasson Orchestra: Dresdner Philharmonie
http://wn.com/Franz_Liszt_Les_préludes
Happy 200th Birthday to Franz Liszt! Franz Liszt (October 22, 1811 -- July 31, 1886) was a 19th-century Hungarian composer, pianist, conductor, and teacher. Liszt became renowned throughout Europe during the nineteenth century for his virtuosic skill as a pianist. He was said by his contemporaries to have been the most technically advanced pianist of his age and perhaps the greatest pianist of all time. Les préludes. Les préludes is the third of Franz Liszt's thirteen symphonic poems. Directed by Liszt himself, in April 1856 the score, and in January 1865 the orchestral parts, were published by Breitkopf & Härtel, Leipzig. Among Liszt's symphonic poems, Les préludes is the most popular. Conductor: Michel Plasson Orchestra: Dresdner Philharmonie
- published: 22 Oct 2011
- views: 15770
- author: Fledermaus1990
Franz Liszt- Reminiscences des Huguenots
- Order: Reorder
- Duration: 72:44
- Updated: 04 Jan 2013
Franz Liszt (German: [fʁant͡s lɪst]); Hungarian: Liszt Ferencz, in modern use Liszt Ferenc) (Hungarian pronunciation: [list ˈfɛrɛnt͡s]), from 1859 to 1867 officially Franz Ritter von Liszt (October 22, 1811 -- July 31, 1886) was a 19th-century Hungarian..composer, pianist, conductor, and teacher. Played by: Leslie Howard
http://wn.com/Franz_Liszt_Reminiscences_des_Huguenots
Franz Liszt (German: [fʁant͡s lɪst]); Hungarian: Liszt Ferencz, in modern use Liszt Ferenc) (Hungarian pronunciation: [list ˈfɛrɛnt͡s]), from 1859 to 1867 officially Franz Ritter von Liszt (October 22, 1811 -- July 31, 1886) was a 19th-century Hungarian..composer, pianist, conductor, and teacher. Played by: Leslie Howard
- published: 21 Jul 2012
- views: 4890
- author: Thanh Ngoc Nguyen
Liszt Totentanz
- Order: Reorder
- Duration: 14:53
- Updated: 04 Jan 2013
Totentanz is now available on "Live at the Royal Albert Hall" DVD! get your copy today at Amazon.com www.amazon.co.uk
http://wn.com/Liszt_Totentanz
Totentanz is now available on "Live at the Royal Albert Hall" DVD! get your copy today at Amazon.com www.amazon.co.uk
- published: 07 Sep 2010
- views: 1498952
- author: ValentinaLisitsa
Franz Liszt - Un Sospiro (by Marc-André Hamelin)
- Order: Reorder
- Duration: 5:18
- Updated: 05 Jan 2013
The image quality is not very good, but this is one of the best performances of this piece I ever heard. Worth watching.
http://wn.com/Franz_Liszt_Un_Sospiro_by_Marc-André_Hamelin
The image quality is not very good, but this is one of the best performances of this piece I ever heard. Worth watching.
- published: 20 Jun 2006
- views: 693587
- author: carlosq
Franz Liszt - Dante Symphony
- Order: Reorder
- Duration: 41:28
- Updated: 05 Jan 2013
Sylvain Cambreling, conductor SWR Sinfonieorchester Baden-Baden Freiburger Domsingknaben 28 January 2011 00:00, 1st mov. 18:45, 2nd mov.
http://wn.com/Franz_Liszt_Dante_Symphony
Sylvain Cambreling, conductor SWR Sinfonieorchester Baden-Baden Freiburger Domsingknaben 28 January 2011 00:00, 1st mov. 18:45, 2nd mov.
- published: 14 Jan 2012
- views: 11777
- author: kutapika
Liszt - Mephisto Waltz No. 1, S. 514 [André Laplante]
- Order: Reorder
- Duration: 11:41
- Updated: 05 Jan 2013
Der Tanz in der Dorfschenke, S514, R181, "Mephisto Waltz No. 1" (1859--62) This is the solo piano version of the famous first Mephisto Waltz by Hungarian composer Franz Liszt (1811-1886), performed here by the excellent Canadian pianist André Laplante. The work was inspired by an episode from "Faust" by Nikolaus Lenau: "There is a wedding feast in progress in the village inn, with music, dancing, carousing. Mephistopheles and Faust pass by, and Mephistopheles induces Faust to enter and take part in the festivities. Mephistopheles snatches the fiddle from the hands of a lethargic fiddler and draws from it indescribably seductive and intoxicating strains. The amorous Faust whirls about with a full-blooded village beauty in a wild dance; they waltz in mad abandon out of the room, into the open, away into the woods. The sounds of the fiddle grow softer and softer, and the nightingale warbles his love-laden song."
http://wn.com/Liszt_Mephisto_Waltz_No_1,_S_514_André_Laplante_
Der Tanz in der Dorfschenke, S514, R181, "Mephisto Waltz No. 1" (1859--62) This is the solo piano version of the famous first Mephisto Waltz by Hungarian composer Franz Liszt (1811-1886), performed here by the excellent Canadian pianist André Laplante. The work was inspired by an episode from "Faust" by Nikolaus Lenau: "There is a wedding feast in progress in the village inn, with music, dancing, carousing. Mephistopheles and Faust pass by, and Mephistopheles induces Faust to enter and take part in the festivities. Mephistopheles snatches the fiddle from the hands of a lethargic fiddler and draws from it indescribably seductive and intoxicating strains. The amorous Faust whirls about with a full-blooded village beauty in a wild dance; they waltz in mad abandon out of the room, into the open, away into the woods. The sounds of the fiddle grow softer and softer, and the nightingale warbles his love-laden song."
- published: 03 Jun 2011
- views: 96274
- author: musicanth
Franz Liszt - Orpheus (1/2)
- Order: Reorder
- Duration: 5:46
- Updated: 03 Jan 2013
Franz Liszt (1811-1886) ORPHEUS, S98 (1853-1856) Symphonic Poem 4
http://wn.com/Franz_Liszt_Orpheus_1_2
Franz Liszt (1811-1886) ORPHEUS, S98 (1853-1856) Symphonic Poem 4
- published: 30 Mar 2008
- views: 83070
- author: DesAbends
Maksim Mrvica playing Franz Liszt's Hungarian Rhapsody No. 2
- Order: Reorder
- Duration: 9:59
- Updated: 05 Jan 2013
MY NEW BLOG: mattburrowspiano.blogspot.com FOLLOW ME ON TWITTER: twitter.com OTHER ACCOUNT: http For scores and more please visit www.maksimmrvica.com This was recorded live at the Roundhouse London.
http://wn.com/Maksim_Mrvica_playing_Franz_Liszt's_Hungarian_Rhapsody_No_2
MY NEW BLOG: mattburrowspiano.blogspot.com FOLLOW ME ON TWITTER: twitter.com OTHER ACCOUNT: http For scores and more please visit www.maksimmrvica.com This was recorded live at the Roundhouse London.
- published: 31 Aug 2006
- views: 2826156
- author: Mattyb2001uk
Sueño de amor - Franz Liszt
- Order: Reorder
- Duration: 4:16
- Updated: 05 Jan 2013
Sueño de amor - Franz Liszt
http://wn.com/Sueño_de_amor_Franz_Liszt
Franz Liszt: Liebestraum cello and piano
- Order: Reorder
- Duration: 5:27
- Updated: 21 Dec 2012
Cellist Seeli Toivio and her brother, pianist Kalle Toivio perform Franz Liszt (1811-1886) "Liebestraum" at Festival Servais 2007. Halle Basilica, Belgium, June 6, 2007. Festival Concert: Bicentennial Commemoration of the Belgian cello virtuoso Adrien François Servais (1807-1866). Servais Society WEBSITE: www.servais-vzw.org
http://wn.com/Franz_Liszt_Liebestraum_cello_and_piano
Cellist Seeli Toivio and her brother, pianist Kalle Toivio perform Franz Liszt (1811-1886) "Liebestraum" at Festival Servais 2007. Halle Basilica, Belgium, June 6, 2007. Festival Concert: Bicentennial Commemoration of the Belgian cello virtuoso Adrien François Servais (1807-1866). Servais Society WEBSITE: www.servais-vzw.org
- published: 24 Jan 2009
- views: 992506
- author: Seeli Toivio
Liszt: Liebestraum No. 3, Notturno (Barenboim)
- Order: Reorder
- Duration: 4:40
- Updated: 05 Jan 2013
Daniel Barenboim plays the famous Liebestraume by Franz Liszt.
http://wn.com/Liszt_Liebestraum_No_3,_Notturno_Barenboim
Daniel Barenboim plays the famous Liebestraume by Franz Liszt.
- published: 26 May 2009
- views: 260739
- author: Pianoplayer002
Bugs Bunny Franz Liszt
- Order: Reorder
- Duration: 1:29
- Updated: 05 Jan 2013
http://wn.com/Bugs_Bunny_Franz_Liszt
Horowitz plays Liszt Consolation No. 3
- Order: Reorder
- Duration: 3:58
- Updated: 05 Jan 2013
Horowitz plays Liszt!
http://wn.com/Horowitz_plays_Liszt_Consolation_No_3
Liszt - Mazeppa, Symphonic Poem Part 1 of 3
- Order: Reorder
- Duration: 10:01
- Updated: 03 Jan 2013
Liszt's Symphonic Poem, Mazeppa, absolutely astounding! It's great to see my favourite piece of all time for full orchestra.
http://wn.com/Liszt_Mazeppa,_Symphonic_Poem_Part_1_of_3
Liszt's Symphonic Poem, Mazeppa, absolutely astounding! It's great to see my favourite piece of all time for full orchestra.
- published: 29 Sep 2008
- views: 64964
- author: OverFjell
Victor Borge - Franz Liszt - Hungarian Rhapsody #2
- Order: Reorder
- Duration: 2:47
- Updated: 03 Jan 2013
Victor Borge - Franz Liszt - Hungarian Rhapsody #2
http://wn.com/Victor_Borge_Franz_Liszt_Hungarian_Rhapsody_2
Victor Borge - Franz Liszt - Hungarian Rhapsody #2
- published: 28 Oct 2006
- views: 930027
- author: Andre222redline
Enrico Pace plays Liszt - Totentanz (part 1 of 2)
- Order: Reorder
- Duration: 9:50
- Updated: 04 Jan 2013
This is the first part of Enrico Pace playing Liszt's Totentanz at the Liszt competition in the Netherlands in 1989
http://wn.com/Enrico_Pace_plays_Liszt_Totentanz_part_1_of_2
This is the first part of Enrico Pace playing Liszt's Totentanz at the Liszt competition in the Netherlands in 1989
- published: 11 Jan 2007
- views: 313705
- author: indotje81
Franz Liszt Hungarian Rhapsody No. 2 - Josef Bulva
- Order: Reorder
- Duration: 9:20
- Updated: 05 Jan 2013
Josef Bulva performs Hungarian Rhapsody no.2 by Franz Liszt....
http://wn.com/Franz_Liszt_Hungarian_Rhapsody_No_2_Josef_Bulva
Josef Bulva performs Hungarian Rhapsody no.2 by Franz Liszt....
- published: 15 Jun 2008
- views: 403829
- author: oHsNaP1337
Franz Liszt - Les préludes, symphonic poem No.3, S.97
- Order: Reorder
- Duration: 15:56
- Updated: 05 Jan 2013
Les préludes (from Alphonse de Lamartine), symphonic poem No.3, S.97. Author: Franz Liszt (1811-1886). Conductor: Daniel Barenboim & Chicago Symphony Orchestra
http://wn.com/Franz_Liszt_Les_préludes,_symphonic_poem_No3,_S97
Les préludes (from Alphonse de Lamartine), symphonic poem No.3, S.97. Author: Franz Liszt (1811-1886). Conductor: Daniel Barenboim & Chicago Symphony Orchestra
- published: 29 Jun 2011
- views: 38608
- author: IlaryRhineKlange
Franz Liszt - Faust Symphony
- Order: Reorder
- Duration: 73:55
- Updated: 27 Dec 2012
Riccardo Muti, conductor Wiener Philharmoniker Michael Schade, tenor Konzertvereinigung Wiener Staatsopernchor 15 August 2009 00:00, 1st mov. 28:39, 2nd mov. 49:18, 3rd mov.
http://wn.com/Franz_Liszt_Faust_Symphony
Riccardo Muti, conductor Wiener Philharmoniker Michael Schade, tenor Konzertvereinigung Wiener Staatsopernchor 15 August 2009 00:00, 1st mov. 28:39, 2nd mov. 49:18, 3rd mov.
- published: 14 Jan 2012
- views: 16471
- author: kutapika
How are Justin Bieber, Franz Liszt and Jerusalem Connected? | Idea Channel | PBS
- Order: Reorder
- Duration: 9:03
- Updated: 05 Jan 2013
At first glance, Pop Wunderkind Justin Bieber aka "The Biebs" and revolutionary 19th Century pianist and composer Franz Liszt don't seem to have anything in common. And while they might not have any musical or biographical similarities, they both have had a powerful psychological effect on their fans. Fits of hysteria, screaming, and fainting are all common traits of "Bieber Fever" & "Lisztomania." But why? What is it that will cause a person to be so tremendously moved by a performer, a piece of art, a cityscape or even, heck, light refracting off of bits of water in the sky? Watch the episode and find out!!! Let us know what sorts of crazy ideas you have, about this episode and otherwise: Tweet at us! @pbsideachannel (yes, the longest twitter username ever) Email us! pbsideachannel [at] gmail [dot] com Hosted by Mike Rugnetta (@mikerugnetta) Made by Kornhaber Brown (www.kornhaberbrown.com) MUSIC Roglok: vimeo.com Savant - Ode To Joy soundcloud.com Chiptune - Kenzalol soundcloud.com Level 5: Room for the Homeless www.jamendo.com Want some more Idea Channel? Here's Last Week's episode: "Can Dungeons and Dragons Make You A Confident & Successful Person?" youtu.be Want another one? Here ya go: "Is Doctor Who a Religion?" youtu.be You want more? Check this one out: "What Do MP3s and Magic Spells Have In Common?" youtu.be
http://wn.com/How_are_Justin_Bieber,_Franz_Liszt_and_Jerusalem_Connected?_|_Idea_Channel_|_PBS
At first glance, Pop Wunderkind Justin Bieber aka "The Biebs" and revolutionary 19th Century pianist and composer Franz Liszt don't seem to have anything in common. And while they might not have any musical or biographical similarities, they both have had a powerful psychological effect on their fans. Fits of hysteria, screaming, and fainting are all common traits of "Bieber Fever" & "Lisztomania." But why? What is it that will cause a person to be so tremendously moved by a performer, a piece of art, a cityscape or even, heck, light refracting off of bits of water in the sky? Watch the episode and find out!!! Let us know what sorts of crazy ideas you have, about this episode and otherwise: Tweet at us! @pbsideachannel (yes, the longest twitter username ever) Email us! pbsideachannel [at] gmail [dot] com Hosted by Mike Rugnetta (@mikerugnetta) Made by Kornhaber Brown (www.kornhaberbrown.com) MUSIC Roglok: vimeo.com Savant - Ode To Joy soundcloud.com Chiptune - Kenzalol soundcloud.com Level 5: Room for the Homeless www.jamendo.com Want some more Idea Channel? Here's Last Week's episode: "Can Dungeons and Dragons Make You A Confident & Successful Person?" youtu.be Want another one? Here ya go: "Is Doctor Who a Religion?" youtu.be You want more? Check this one out: "What Do MP3s and Magic Spells Have In Common?" youtu.be
- published: 17 Oct 2012
- views: 57827
- author: pbsideachannel
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Tristan Pfaff, piano - Franz Liszt, La Danza (live)
- Order: Reorder
- Duration: 4:49
- Updated: 14 Jan 2013
In the nineteenth century with its fierce struggles for the independence of nations, Liszt was projected as a European, aspiring to "represent in Europe an element of intelligence, honour and talent". He wanted in fact to be the child of every nation, loving and singing of France, Italy, Germany, Hungary, not to mention Russia and Poland. The virtuoso had played all the keyboard literature and travelled the roads and seas; the thinker had nourished his intellect through his readings of Lamennais, Lamartine and Hugo, Shakespeare and Byron, Dante and Petrarch, Goethe and Schiller; the composer of songs, indebted to Italian bel canto, the French romance and the German chorale, set texts written in six languages, not counting Latin. Hesitating between pure creation and transcription, which called upon his gifts as a wizard of the keyboard throughout his lifetime, he thus paid tribute to every facet of Western art, as may be seen from this recital — or "soliloquy", to use his own expression. Recording producer: Nicolas Bartholomée. Film director: Guillaume L'Hôte. Filmed at Salle Cortot - Paris www.littletribeca.com http eboutique.harmoniamundi.com
http://wn.com/Tristan_Pfaff,_piano_Franz_Liszt,_La_Danza_live
In the nineteenth century with its fierce struggles for the independence of nations, Liszt was projected as a European, aspiring to "represent in Europe an element of intelligence, honour and talent". He wanted in fact to be the child of every nation, loving and singing of France, Italy, Germany, Hungary, not to mention Russia and Poland. The virtuoso had played all the keyboard literature and travelled the roads and seas; the thinker had nourished his intellect through his readings of Lamennais, Lamartine and Hugo, Shakespeare and Byron, Dante and Petrarch, Goethe and Schiller; the composer of songs, indebted to Italian bel canto, the French romance and the German chorale, set texts written in six languages, not counting Latin. Hesitating between pure creation and transcription, which called upon his gifts as a wizard of the keyboard throughout his lifetime, he thus paid tribute to every facet of Western art, as may be seen from this recital — or "soliloquy", to use his own expression. Recording producer: Nicolas Bartholomée. Film director: Guillaume L'Hôte. Filmed at Salle Cortot - Paris www.littletribeca.com http eboutique.harmoniamundi.com
- published: 09 May 2011
- views: 4028
- author: AparteTV
Paganini-Liszt La Campanella HQ
- Order: Reorder
- Duration: 5:00
- Updated: 17 Jan 2013
Live from Seoul. Encore #1. Liszt "La Campanella" Buy La Campanella video www.amazon.co.uk
http://wn.com/Paganini-Liszt_La_Campanella_HQ
Live from Seoul. Encore #1. Liszt "La Campanella" Buy La Campanella video www.amazon.co.uk
- published: 07 Dec 2008
- views: 2352235
- author: ValentinaLisitsa
Victor Borge & Mike Wallace with Franz Liszt part 1
- Order: Reorder
- Duration: 10:03
- Updated: 04 Jan 2013
Mike Wallace interview with "Franz Liszt." In this clip, Victor Borge plays the part of Liszt and discusses his life, music, and his fellow composers with humor.
http://wn.com/Victor_Borge_Mike_Wallace_with_Franz_Liszt_part_1
Mike Wallace interview with "Franz Liszt." In this clip, Victor Borge plays the part of Liszt and discusses his life, music, and his fellow composers with humor.
- published: 05 Sep 2011
- views: 7418
- author: Milewskige
Denis Kozhukhin - Franz Liszt - "Mazeppa" Etude
- Order: Reorder
- Duration: 2:11
- Updated: 22 Dec 2012
Excerpt from a concert broadcast live and available at: www.medici.tv Recorded live at the Louvre Auditorium on April 25, 2012. Denis Kozhukhin, piano Franz Liszt Transcendental Etudes 4. Mazeppa : Allegro
http://wn.com/Denis_Kozhukhin_Franz_Liszt_Mazeppa_Etude
Excerpt from a concert broadcast live and available at: www.medici.tv Recorded live at the Louvre Auditorium on April 25, 2012. Denis Kozhukhin, piano Franz Liszt Transcendental Etudes 4. Mazeppa : Allegro
- published: 10 May 2012
- views: 8683
- author: medicitv
Tristan Pfaff, piano - Franz Liszt, Rakoczy March (live)
- Order: Reorder
- Duration: 2:17
- Updated: 01 Jan 2013
In the nineteenth century with its fierce struggles for the independence of nations, Liszt was projected as a European, aspiring to "represent in Europe an element of intelligence, honour and talent". He wanted in fact to be the child of every nation, loving and singing of France, Italy, Germany, Hungary, not to mention Russia and Poland. The virtuoso had played all the keyboard literature and travelled the roads and seas; the thinker had nourished his intellect through his readings of Lamennais, Lamartine and Hugo, Shakespeare and Byron, Dante and Petrarch, Goethe and Schiller; the composer of songs, indebted to Italian bel canto, the French romance and the German chorale, set texts written in six languages, not counting Latin. Hesitating between pure creation and transcription, which called upon his gifts as a wizard of the keyboard throughout his lifetime, he thus paid tribute to every facet of Western art, as may be seen from this recital — or "soliloquy", to use his own expression. Recording producer: Nicolas Bartholomée. Film director: Guillaume L'Hôte. Filmed at Salle Cortot - Paris www.littletribeca.com http eboutique.harmoniamundi.com
http://wn.com/Tristan_Pfaff,_piano_Franz_Liszt,_Rakoczy_March_live
In the nineteenth century with its fierce struggles for the independence of nations, Liszt was projected as a European, aspiring to "represent in Europe an element of intelligence, honour and talent". He wanted in fact to be the child of every nation, loving and singing of France, Italy, Germany, Hungary, not to mention Russia and Poland. The virtuoso had played all the keyboard literature and travelled the roads and seas; the thinker had nourished his intellect through his readings of Lamennais, Lamartine and Hugo, Shakespeare and Byron, Dante and Petrarch, Goethe and Schiller; the composer of songs, indebted to Italian bel canto, the French romance and the German chorale, set texts written in six languages, not counting Latin. Hesitating between pure creation and transcription, which called upon his gifts as a wizard of the keyboard throughout his lifetime, he thus paid tribute to every facet of Western art, as may be seen from this recital — or "soliloquy", to use his own expression. Recording producer: Nicolas Bartholomée. Film director: Guillaume L'Hôte. Filmed at Salle Cortot - Paris www.littletribeca.com http eboutique.harmoniamundi.com
- published: 09 May 2011
- views: 5279
- author: AparteTV
Umi Plays Gnomenreigen By Franz Liszt
- Order: Reorder
- Duration: 3:05
- Updated: 10 Jan 2013
♫ bit.ly ♫ bit.ly ♫ Umi Garrett plays Gnomenreigen by Franz Liszt as an encore to her performance with the Thayer Symphony Orchestra. Just before playing Gnomenreigen, Umi had performed the third movement of Mozart Concerto No 23 with the Thayer Symhpony Orchestra, which was conducted by Maestro Toshimasa Francis Wada on April 16th, 2011. To hear Umi's performance of Mozart Concerto No 23 with the Thayer Symphony Orchestra, choose any of the videos below: www.youtube.com (Movement 1) www.youtube.com (Movement 2) www.youtube.com (Movement 3)
http://wn.com/Umi_Plays_Gnomenreigen_By_Franz_Liszt
♫ bit.ly ♫ bit.ly ♫ Umi Garrett plays Gnomenreigen by Franz Liszt as an encore to her performance with the Thayer Symphony Orchestra. Just before playing Gnomenreigen, Umi had performed the third movement of Mozart Concerto No 23 with the Thayer Symhpony Orchestra, which was conducted by Maestro Toshimasa Francis Wada on April 16th, 2011. To hear Umi's performance of Mozart Concerto No 23 with the Thayer Symphony Orchestra, choose any of the videos below: www.youtube.com (Movement 1) www.youtube.com (Movement 2) www.youtube.com (Movement 3)
- published: 13 May 2011
- views: 11661
- author: UMIPIANO
Pogorelich-Franz Liszt Sonata in B minor(complete), Live 1993
- Order: Reorder
- Duration: 36:22
- Updated: 13 Jan 2013
1993 Live concert recording. Franz Liszt Sonata in B minor played by Maestro Ivo Pogorelich (1958). The recording of this recital is dedicated to the memory of Ivo Pogorelich´s mentor, teacher, and wife, Alice Kerezade, who lovingly passed on to him the tradition of the Liszt-Siloti school, before her untimely death in 1996. This recording pays homage to this exceptionally refined, vissionary, and truly revolutionary woman, who made Pogorelich a unique artist of genius. Ivo Pogorelich is an artist of the highest caliber, discipline and musicianship. He is the archetype of the modern artist, the isolated and courageus master, who finds his own way to new heights of expression, no matter the prejudices or the barriers of misunderstanding raised against him. He stands alone at the beginning of a new epoch like a prophet, mapping the routes that art would take. Pogorelich´s cathartic and mystical sound, is concerned with the ultimate mysteries that transcend this world. His grandiose, colossal and majestic art, symbolizes the struggle of the human soul to find release from the bonds of its material body. His exquiste and overwhelming music continues to echo throughout the entire performance and beyond, so the action is at once momentary, eternal and complete. Pogorelich´s interpretations are indescribably beautiful and irresistible. His sound is pure poetry and extremely emotional, yet entirely unsentimental. We are hypnotazed by his new and radical naturalness, by his ...
http://wn.com/Pogorelich-Franz_Liszt_Sonata_in_B_minorcomplete,_Live_1993
1993 Live concert recording. Franz Liszt Sonata in B minor played by Maestro Ivo Pogorelich (1958). The recording of this recital is dedicated to the memory of Ivo Pogorelich´s mentor, teacher, and wife, Alice Kerezade, who lovingly passed on to him the tradition of the Liszt-Siloti school, before her untimely death in 1996. This recording pays homage to this exceptionally refined, vissionary, and truly revolutionary woman, who made Pogorelich a unique artist of genius. Ivo Pogorelich is an artist of the highest caliber, discipline and musicianship. He is the archetype of the modern artist, the isolated and courageus master, who finds his own way to new heights of expression, no matter the prejudices or the barriers of misunderstanding raised against him. He stands alone at the beginning of a new epoch like a prophet, mapping the routes that art would take. Pogorelich´s cathartic and mystical sound, is concerned with the ultimate mysteries that transcend this world. His grandiose, colossal and majestic art, symbolizes the struggle of the human soul to find release from the bonds of its material body. His exquiste and overwhelming music continues to echo throughout the entire performance and beyond, so the action is at once momentary, eternal and complete. Pogorelich´s interpretations are indescribably beautiful and irresistible. His sound is pure poetry and extremely emotional, yet entirely unsentimental. We are hypnotazed by his new and radical naturalness, by his ...
- published: 01 Apr 2011
- views: 36825
- author: chopin4321
Franz Liszt - Scherzo and March - VLADIMIR HOROWITZ LIVE
- Order: Reorder
- Duration: 10:32
- Updated: 27 Dec 2012
Played live by Vladimir Horowitz, Queens College, New York in 1967.
http://wn.com/Franz_Liszt_Scherzo_and_March_VLADIMIR_HOROWITZ_LIVE
Played live by Vladimir Horowitz, Queens College, New York in 1967.
- published: 04 May 2009
- views: 5726
- author: deviantrake
Lang Lang on live concert for Franz Liszt's 200th birthday
- Order: Reorder
- Duration: 1:50
- Updated: 14 Jul 2012
XDC Entertainment is proud to announce the distribution of a special event performed by renowned international pianist Lang Lang, with Philadelphia Orchestra and Maestro Charles Dutoit, live from Philadelphia on October 23 2011 in cinemas across Europe and Asia. The acclaimed virtuoso will be celebrating Franz Liszt's 200th birthday with a concert transmitted live and as-live, which XDC Entertainment will broadcast into 150 cinemas in Europe and Asia. The n°1 pan-European digital cinema service company has signed a distribution agreement with Sony Classical to distribute the work of the pianist, whose reach and appeal to mainstream audiences has heralded Lang Lang as the "hottest artist on the classical music planet" by the New York Times. This event is co-produced with ZDF and in cooperation with ARTE. "The cinemacast is a first-class opportunity to bring Liszt's music to audiences throughout the country with contemporary technology," said Lang Lang. "I look forward to playing with the Philadelphia Orchestra and Maestro Charles Dutoit and celebrating this special birthday with music aficionados internationally." The pianist was inspired to play at the age of 2 after hearing the Hungarian Rhapsody No. 2 by Franz Liszt in a Tom and Jerry cartoon and credits the composer with motivating him to take up the instrument at such a young age. Among other pieces, he will perform Liszt's famed Piano Concerto No. 1 in conjunction with the Philadelphia Orchestra, conducted by Maestro ...
http://wn.com/Lang_Lang_on_live_concert_for_Franz_Liszt's_200th_birthday
XDC Entertainment is proud to announce the distribution of a special event performed by renowned international pianist Lang Lang, with Philadelphia Orchestra and Maestro Charles Dutoit, live from Philadelphia on October 23 2011 in cinemas across Europe and Asia. The acclaimed virtuoso will be celebrating Franz Liszt's 200th birthday with a concert transmitted live and as-live, which XDC Entertainment will broadcast into 150 cinemas in Europe and Asia. The n°1 pan-European digital cinema service company has signed a distribution agreement with Sony Classical to distribute the work of the pianist, whose reach and appeal to mainstream audiences has heralded Lang Lang as the "hottest artist on the classical music planet" by the New York Times. This event is co-produced with ZDF and in cooperation with ARTE. "The cinemacast is a first-class opportunity to bring Liszt's music to audiences throughout the country with contemporary technology," said Lang Lang. "I look forward to playing with the Philadelphia Orchestra and Maestro Charles Dutoit and celebrating this special birthday with music aficionados internationally." The pianist was inspired to play at the age of 2 after hearing the Hungarian Rhapsody No. 2 by Franz Liszt in a Tom and Jerry cartoon and credits the composer with motivating him to take up the instrument at such a young age. Among other pieces, he will perform Liszt's famed Piano Concerto No. 1 in conjunction with the Philadelphia Orchestra, conducted by Maestro ...
- published: 30 Sep 2011
- views: 3715
- author: alternativecontent
Ivo Pogorelich - (1/3) Franz Liszt Sonata in B minor, Live 1993
- Order: Reorder
- Duration: 15:00
- Updated: 14 Jan 2013
1993 Live concert recording. Franz Liszt Sonata in B minor (1/3) played by Maestro Ivo Pogorelich (1958). The recording of this recital is dedicated to the memory of Ivo Pogorelich´s mentor, teacher, and wife, Alice Kerezade, who lovingly passed on to him the tradition of the Liszt-Siloti school, before her untimely death in 1996. This recording pays homage to this exceptionally refined, vissionary, and truly revolutionary woman, who made Pogorelich a unique artist of genius. Ivo Pogorelich is an artist of the highest caliber, discipline and musicianship. He is the archetype of the modern artist, the isolated and courageus master, who finds his own way to new heights of expression, no matter the prejudices or the barriers of misunderstanding raised against him. He stands alone at the beginning of a new epoch like a prophet, mapping the routes that art would take. Pogorelich´s cathartic and mystical sound, is concerned with the ultimate mysteries that transcend this world. His grandiose, colossal and majestic art, symbolizes the struggle of the human soul to find release from the bonds of its material body. His exquiste and overwhelming music continues to echo throughout the entire performance and beyond, so the action is at once momentary, eternal and complete. Pogorelich´s interpretations are indescribably beautiful and irresistible. His sound is pure poetry and extremely emotional, yet entirely unsentimental. We are hypnotazed by his new and radical naturalness, by his ...
http://wn.com/Ivo_Pogorelich_1_3_Franz_Liszt_Sonata_in_B_minor,_Live_1993
1993 Live concert recording. Franz Liszt Sonata in B minor (1/3) played by Maestro Ivo Pogorelich (1958). The recording of this recital is dedicated to the memory of Ivo Pogorelich´s mentor, teacher, and wife, Alice Kerezade, who lovingly passed on to him the tradition of the Liszt-Siloti school, before her untimely death in 1996. This recording pays homage to this exceptionally refined, vissionary, and truly revolutionary woman, who made Pogorelich a unique artist of genius. Ivo Pogorelich is an artist of the highest caliber, discipline and musicianship. He is the archetype of the modern artist, the isolated and courageus master, who finds his own way to new heights of expression, no matter the prejudices or the barriers of misunderstanding raised against him. He stands alone at the beginning of a new epoch like a prophet, mapping the routes that art would take. Pogorelich´s cathartic and mystical sound, is concerned with the ultimate mysteries that transcend this world. His grandiose, colossal and majestic art, symbolizes the struggle of the human soul to find release from the bonds of its material body. His exquiste and overwhelming music continues to echo throughout the entire performance and beyond, so the action is at once momentary, eternal and complete. Pogorelich´s interpretations are indescribably beautiful and irresistible. His sound is pure poetry and extremely emotional, yet entirely unsentimental. We are hypnotazed by his new and radical naturalness, by his ...
- published: 29 Mar 2011
- views: 5704
- author: chopin4321
Franz LISZT Consolation No 1, S 172 - Michel Mananes Live Recording
- Order: Reorder
- Duration: 1:42
- Updated: 07 Sep 2012
Michel Mañanes study piano in France, Spain and Austria. With recitals for Europa and Southamerica specially. He won first prize in several young piano competitions. He is Piano Teacher in Madrid and continue to give concerts.Rachmaninov moment musical. classical concert pianist. www.michelmananes.com Michel Mañanes has obtained, recently, the University Title of "Expert in Pianistic Interpretation", gotten with "Cum Laudae" by Unanimous vote (International University of Andalusia) The Liszt Consolations are fragments of pure Lisztian life and color. Liszt wrote the consolations around 1849-1850. Nobody's quite sure where the title Consolations comes from - the most likely explanation is that Liszt was inspired by some volume of poetry or other. Liszt had actually had brainwaves for the Consolations a lot earlier than the year of publication (1850). One of them even dates all the way back to 1844! There are 6 Consolations. Since they're so small they sound best when played end-to-end (the tempo indications also suggest this is the proper way to play them), although a lot of pianists choose to only perform one or two. Out of all of them, number 6 is the most appropriate for performance as a standalone piece. The six consolations by Franz Liszt are deeply emotional and inspiring pieces. Each one has so many different ways of being interpreted. Each performance should be unique and draw on the emotions of the performer and listeners. The key signatures hardly change from ...
http://wn.com/Franz_LISZT_Consolation_No_1,_S_172_Michel_Mananes_Live_Recording
Michel Mañanes study piano in France, Spain and Austria. With recitals for Europa and Southamerica specially. He won first prize in several young piano competitions. He is Piano Teacher in Madrid and continue to give concerts.Rachmaninov moment musical. classical concert pianist. www.michelmananes.com Michel Mañanes has obtained, recently, the University Title of "Expert in Pianistic Interpretation", gotten with "Cum Laudae" by Unanimous vote (International University of Andalusia) The Liszt Consolations are fragments of pure Lisztian life and color. Liszt wrote the consolations around 1849-1850. Nobody's quite sure where the title Consolations comes from - the most likely explanation is that Liszt was inspired by some volume of poetry or other. Liszt had actually had brainwaves for the Consolations a lot earlier than the year of publication (1850). One of them even dates all the way back to 1844! There are 6 Consolations. Since they're so small they sound best when played end-to-end (the tempo indications also suggest this is the proper way to play them), although a lot of pianists choose to only perform one or two. Out of all of them, number 6 is the most appropriate for performance as a standalone piece. The six consolations by Franz Liszt are deeply emotional and inspiring pieces. Each one has so many different ways of being interpreted. Each performance should be unique and draw on the emotions of the performer and listeners. The key signatures hardly change from ...
- published: 28 Nov 2011
- views: 502
- author: Michel Mananes
FRANZ LISZT Hungarian Rhapsody 6 - Michel Mananes Live Recording
- Order: Reorder
- Duration: 6:18
- Updated: 16 Oct 2012
For better Audio: www.youtube.com LISZT Bicentenary of his Birthday! Michel Mañanes playing Live The Hungarian Rhapsody No 6 B flat major Of Liszt in Madrid.With recitals for europa and suramerica specially.Has won first prize in several young piano competitions. He is Piano Teacher in Madrid and continue to give concerts.Hungarian rhapsody.Classical concert pianist Michel Mañanes has obtained, recently, the University Title of "Expert in Pianistic Interpretation", gotten with "Cum Laudae" by Unanimous vote (International University of Andalusia) www.myspace.com Liszt, Franzfränts lĭst, 1811--86, Hungarian composer and pianist. Liszt was a revolutionary figure of romantic music and was acknowledged as the greatest pianist of his time. He made his debut at nine, going thereafter to Vienna to study with Czerny and Salieri. In Paris (1823--25) he knew all the principal artistic figures of the period and was influenced by Berlioz, Chopin, and Paganini. He lived with Mme d'Agoult (better known by her pen name, Daniel Stern) from 1833 to 1844, and they had three children; their daughter Cosima became the wife of Hans von Bülow and later of Wagner. As a piano virtuoso, Liszt enthralled his audiences with his expressive interpretations and grand style of playing, augmented with dramatic gestures. In 1848 he decided to make a career as a composer, and became musical director to the duke of Weimar. He remained at Weimar until 1859, and two years later went to Rome, where he became ...
http://wn.com/FRANZ_LISZT_Hungarian_Rhapsody_6_Michel_Mananes_Live_Recording
For better Audio: www.youtube.com LISZT Bicentenary of his Birthday! Michel Mañanes playing Live The Hungarian Rhapsody No 6 B flat major Of Liszt in Madrid.With recitals for europa and suramerica specially.Has won first prize in several young piano competitions. He is Piano Teacher in Madrid and continue to give concerts.Hungarian rhapsody.Classical concert pianist Michel Mañanes has obtained, recently, the University Title of "Expert in Pianistic Interpretation", gotten with "Cum Laudae" by Unanimous vote (International University of Andalusia) www.myspace.com Liszt, Franzfränts lĭst, 1811--86, Hungarian composer and pianist. Liszt was a revolutionary figure of romantic music and was acknowledged as the greatest pianist of his time. He made his debut at nine, going thereafter to Vienna to study with Czerny and Salieri. In Paris (1823--25) he knew all the principal artistic figures of the period and was influenced by Berlioz, Chopin, and Paganini. He lived with Mme d'Agoult (better known by her pen name, Daniel Stern) from 1833 to 1844, and they had three children; their daughter Cosima became the wife of Hans von Bülow and later of Wagner. As a piano virtuoso, Liszt enthralled his audiences with his expressive interpretations and grand style of playing, augmented with dramatic gestures. In 1848 he decided to make a career as a composer, and became musical director to the duke of Weimar. He remained at Weimar until 1859, and two years later went to Rome, where he became ...
- published: 27 Jan 2011
- views: 3537
- author: Michel Mananes
Ivo Pogorelich - (2/3) Franz Liszt Sonata in B minor, Live 1993
- Order: Reorder
- Duration: 14:53
- Updated: 03 Sep 2012
1993 Live concert recording. Franz Liszt Sonata in B minor (2/3) played by Maestro Ivo Pogorelich (1958). The recording of this recital is dedicated to the memory of Ivo Pogorelich´s mentor, teacher, and wife, Alice Kerezade, who lovingly passed on to him the tradition of the Liszt-Siloti school, before her untimely death in 1996. This recording pays homage to this exceptionally refined, vissionary, and truly revolutionary woman, who made Pogorelich a unique artist of genius. Ivo Pogorelich is an artist of the highest caliber, discipline and musicianship. He is the archetype of the modern artist, the isolated and courageus master, who finds his own way to new heights of expression, no matter the prejudices or the barriers of misunderstanding raised against him. He stands alone at the beginning of a new epoch like a prophet, mapping the routes that art would take. Pogorelich´s cathartic and mystical sound, is concerned with the ultimate mysteries that transcend this world. His grandiose, colossal and majestic art, symbolizes the struggle of the human soul to find release from the bonds of its material body. His exquiste and overwhelming music continues to echo throughout the entire performance and beyond, so the action is at once momentary, eternal and complete. Pogorelich´s interpretations are indescribably beautiful and irresistible. His sound is pure poetry and extremely emotional, yet entirely unsentimental. We are hypnotazed by his new and radical naturalness, by his ...
http://wn.com/Ivo_Pogorelich_2_3_Franz_Liszt_Sonata_in_B_minor,_Live_1993
1993 Live concert recording. Franz Liszt Sonata in B minor (2/3) played by Maestro Ivo Pogorelich (1958). The recording of this recital is dedicated to the memory of Ivo Pogorelich´s mentor, teacher, and wife, Alice Kerezade, who lovingly passed on to him the tradition of the Liszt-Siloti school, before her untimely death in 1996. This recording pays homage to this exceptionally refined, vissionary, and truly revolutionary woman, who made Pogorelich a unique artist of genius. Ivo Pogorelich is an artist of the highest caliber, discipline and musicianship. He is the archetype of the modern artist, the isolated and courageus master, who finds his own way to new heights of expression, no matter the prejudices or the barriers of misunderstanding raised against him. He stands alone at the beginning of a new epoch like a prophet, mapping the routes that art would take. Pogorelich´s cathartic and mystical sound, is concerned with the ultimate mysteries that transcend this world. His grandiose, colossal and majestic art, symbolizes the struggle of the human soul to find release from the bonds of its material body. His exquiste and overwhelming music continues to echo throughout the entire performance and beyond, so the action is at once momentary, eternal and complete. Pogorelich´s interpretations are indescribably beautiful and irresistible. His sound is pure poetry and extremely emotional, yet entirely unsentimental. We are hypnotazed by his new and radical naturalness, by his ...
- published: 30 Mar 2011
- views: 1574
- author: chopin4321
Volodos - Franz Liszt Hungarian Rhapsody No. 13
- Order: Reorder
- Duration: 8:06
- Updated: 16 Jan 2013
A live performance of Arcadi Volodos.
http://wn.com/Volodos_Franz_Liszt_Hungarian_Rhapsody_No_13
Franz Liszt La Campanella Jazz Piano Serge Forte Classic live lille
- Order: Reorder
- Duration: 6:15
- Updated: 13 Oct 2012
www.cdbaby.com Recorded Live in the "Lille Piano Festival" june 18th 2011 After my experiences with Chopin's music with my recording "Jazz'in Chopin" I've tried to put some Liszt music into Jazz
http://wn.com/Franz_Liszt_La_Campanella_Jazz_Piano_Serge_Forte_Classic_live_lille
www.cdbaby.com Recorded Live in the "Lille Piano Festival" june 18th 2011 After my experiences with Chopin's music with my recording "Jazz'in Chopin" I've tried to put some Liszt music into Jazz
- published: 23 Jun 2011
- views: 1662
- author: Serge Forté
Franz Liszt: "DIE LORELEY" S.532 (1861), by Vadim Chaimovich
- Order: Reorder
- Duration: 8:55
- Updated: 05 Jan 2013
Franz Liszt (1811 - 1886) "Die Loreley", S.532 (1861) Vadim Chaimovich, piano (live performance) PS: Please support the artist by purchasing his recordings on CD! For more information please visit the profile. Thank you!
http://wn.com/Franz_Liszt_DIE_LORELEY_S532_1861,_by_Vadim_Chaimovich
Franz Liszt (1811 - 1886) "Die Loreley", S.532 (1861) Vadim Chaimovich, piano (live performance) PS: Please support the artist by purchasing his recordings on CD! For more information please visit the profile. Thank you!
- published: 29 Sep 2009
- views: 34971
- author: KlassikFan2007
Hamelin plays Liszt - Paganini Etude No. 6 (live) Audio + Sheet
- Order: Reorder
- Duration: 4:57
- Updated: 16 Jan 2013
Franz Liszt's virtuoso Paganini Etudes, No. 6 "Theme and Variations". Played live by Marc-André Hamelin.
http://wn.com/Hamelin_plays_Liszt_Paganini_Etude_No_6_live_Audio_+_Sheet
Franz Liszt's virtuoso Paganini Etudes, No. 6 "Theme and Variations". Played live by Marc-André Hamelin.
- published: 10 Oct 2011
- views: 38344
- author: madlovba3
Luisa Splett plays Franz Liszt: Vallée d'Obermann
- Order: Reorder
- Duration: 13:34
- Updated: 02 Jan 2013
Franz Liszt (1811--1886) aus Années de Pèlerinage, La Suisse: Vallée d'Obermann Luisa Sereina Splett was born on the 20th of September 1983 in Winterthur, Switzerland. She began playing the piano by imitating children's songs and at the age of five, began formal lessons with Sylvia Näsbom-Thellung. From the beginning, Luisa Splett played in public with great pleasure, as a soloist and chamber musician. With her piano-trio "Da Capo", which was guided by her father, she played in the Jecklin Festival of 1997 in the large hall of the Tonhalle in Zürich. In November of 2009 she performed her graduation concert at the Rimsky-Korsakov State Conservatory in Saint Petersburg, receiving an "excellent" mark. Beside her still increasing concert activity, Luisa Splett is writing her dissertation work, which is focused on the Swiss pianist and composer Emil Frey and his creative efforts in Russia during the early part of the 20th century. "I sincerely enjoy spending my life with what might seem just 88 keys to others. I feel great working out little details for hours and hours, over and over again, until my music gets alive. That's when playing the piano simply seems to be the best thing I've ever done. I want to pass on this joy of music to as many people as I can." Looking for the perfect sound From my earliest childhood music fills my life. What began as a game became my vocation -- music is my life and my life full of music. On my way looking for the perfect sound my path leaded ...
http://wn.com/Luisa_Splett_plays_Franz_Liszt_Vallée_d'Obermann
Franz Liszt (1811--1886) aus Années de Pèlerinage, La Suisse: Vallée d'Obermann Luisa Sereina Splett was born on the 20th of September 1983 in Winterthur, Switzerland. She began playing the piano by imitating children's songs and at the age of five, began formal lessons with Sylvia Näsbom-Thellung. From the beginning, Luisa Splett played in public with great pleasure, as a soloist and chamber musician. With her piano-trio "Da Capo", which was guided by her father, she played in the Jecklin Festival of 1997 in the large hall of the Tonhalle in Zürich. In November of 2009 she performed her graduation concert at the Rimsky-Korsakov State Conservatory in Saint Petersburg, receiving an "excellent" mark. Beside her still increasing concert activity, Luisa Splett is writing her dissertation work, which is focused on the Swiss pianist and composer Emil Frey and his creative efforts in Russia during the early part of the 20th century. "I sincerely enjoy spending my life with what might seem just 88 keys to others. I feel great working out little details for hours and hours, over and over again, until my music gets alive. That's when playing the piano simply seems to be the best thing I've ever done. I want to pass on this joy of music to as many people as I can." Looking for the perfect sound From my earliest childhood music fills my life. What began as a game became my vocation -- music is my life and my life full of music. On my way looking for the perfect sound my path leaded ...
- published: 18 Oct 2010
- views: 8578
- author: dingoandfox
Pollini plays late Liszt Live (2012)
- Order: Reorder
- Duration: 14:11
- Updated: 22 Dec 2012
Franz Liszt 1) Nuages gris (1881) 2) Unstern! (1880-86) 02:03 3) La lugubre gondola No.1 (1882) 07:11 4) RW -- Venezia (1883) 10:41 Maurizio Pollini, live London 2012
http://wn.com/Pollini_plays_late_Liszt_Live_2012
Franz Liszt 1) Nuages gris (1881) 2) Unstern! (1880-86) 02:03 3) La lugubre gondola No.1 (1882) 07:11 4) RW -- Venezia (1883) 10:41 Maurizio Pollini, live London 2012
- published: 08 Mar 2012
- views: 2953
- author: StockhausenIsMyCat
Maksim Mrvica playing Franz Liszt's Hungarian Rhapsody No. 2
- Order: Reorder
- Duration: 9:59
- Updated: 17 Jan 2013
MY NEW BLOG: mattburrowspiano.blogspot.com FOLLOW ME ON TWITTER: twitter.com OTHER ACCOUNT: http For scores and more please visit www.maksimmrvica.com This was recorded live at the Roundhouse London.
http://wn.com/Maksim_Mrvica_playing_Franz_Liszt's_Hungarian_Rhapsody_No_2
MY NEW BLOG: mattburrowspiano.blogspot.com FOLLOW ME ON TWITTER: twitter.com OTHER ACCOUNT: http For scores and more please visit www.maksimmrvica.com This was recorded live at the Roundhouse London.
- published: 31 Aug 2006
- views: 2834840
- author: Mattyb2001uk
David Fung plays Franz Liszt's La Campanella
- Order: Reorder
- Duration: 4:51
- Updated: 08 Jan 2013
David Fung plays Franz Liszt's La Campanella LIVE in Los Angeles. Recordings of David are available at Amazon.com and iTunes. DavidFung.com is the official website of Australian pianist, David Fung.
http://wn.com/David_Fung_plays_Franz_Liszt's_La_Campanella
David Fung plays Franz Liszt's La Campanella LIVE in Los Angeles. Recordings of David are available at Amazon.com and iTunes. DavidFung.com is the official website of Australian pianist, David Fung.
- published: 29 Apr 2007
- views: 35277
- author: MusicRecordings
Evgeny Kissin - Vallée d'Obermann (Franz Liszt) Live @ Philharmonie Luxembourg
- Order: Reorder
- Duration: 13:49
- Updated: 17 Jan 2013
Evgeny Kissin playing the song Vallée d' Obermann of Franz Liszt live at Philharmonie Luxembourg.
http://wn.com/Evgeny_Kissin_Vallée_d'Obermann_Franz_Liszt_Live_@_Philharmonie_Luxembourg
Evgeny Kissin playing the song Vallée d' Obermann of Franz Liszt live at Philharmonie Luxembourg.
- published: 26 Jun 2011
- views: 18548
- author: TheDormusic
Hamelin plays Liszt - Paganini Etude No. 5 (live) Audio + Sheet music
- Order: Reorder
- Duration: 2:53
- Updated: 16 Jan 2013
Franz Liszt's virtuoso Paganini Etudes, No. 5 "La Chasse". Played live by Marc-André Hamelin.
http://wn.com/Hamelin_plays_Liszt_Paganini_Etude_No_5_live_Audio_+_Sheet_music
Franz Liszt's virtuoso Paganini Etudes, No. 5 "La Chasse". Played live by Marc-André Hamelin.
- published: 10 Oct 2011
- views: 37091
- author: madlovba3
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Franz Liszt- Reminiscences des Huguenots
- Order: Reorder
- Duration: 72:44
- Updated: 27 Dec 2012
Franz Liszt (German: [fʁant͡s lɪst]); Hungarian: Liszt Ferencz, in modern use Liszt Ferenc) (Hungarian pronunciation: [list ˈfɛrɛnt͡s]), from 1859 to 1867 officially Franz Ritter von Liszt (October 22, 1811 -- July 31, 1886) was a 19th-century Hungarian..composer, pianist, conductor, and teacher. Played by: Leslie Howard
http://wn.com/Franz_Liszt_Reminiscences_des_Huguenots
Franz Liszt (German: [fʁant͡s lɪst]); Hungarian: Liszt Ferencz, in modern use Liszt Ferenc) (Hungarian pronunciation: [list ˈfɛrɛnt͡s]), from 1859 to 1867 officially Franz Ritter von Liszt (October 22, 1811 -- July 31, 1886) was a 19th-century Hungarian..composer, pianist, conductor, and teacher. Played by: Leslie Howard
- published: 21 Jul 2012
- views: 4182
- author: Thanh Ngoc Nguyen
Franz Liszt - Piano Sonata in B Minor, S. 178 (Piano Solo)
- Order: Reorder
- Duration: 32:56
- Updated: 01 Dec 2012
The Piano Sonata in B minor (German: Klaviersonate h-Moll), S.178, is a musical composition for solo piano by Franz Liszt, published in 1854 with a dedication to Robert Schumann. It is often considered Liszt's greatest composition for solo piano. The piece has been often analyzed, particularly regarding issues of form. Performed by André Laplante.
http://wn.com/Franz_Liszt_Piano_Sonata_in_B_Minor,_S_178_Piano_Solo
The Piano Sonata in B minor (German: Klaviersonate h-Moll), S.178, is a musical composition for solo piano by Franz Liszt, published in 1854 with a dedication to Robert Schumann. It is often considered Liszt's greatest composition for solo piano. The piece has been often analyzed, particularly regarding issues of form. Performed by André Laplante.
- published: 14 Aug 2012
- views: 1757
- author: steven960929
Franz Liszt - Dante Symphony
- Order: Reorder
- Duration: 41:28
- Updated: 26 Dec 2012
Sylvain Cambreling, conductor SWR Sinfonieorchester Baden-Baden Freiburger Domsingknaben 28 January 2011 00:00, 1st mov. 18:45, 2nd mov.
http://wn.com/Franz_Liszt_Dante_Symphony
Sylvain Cambreling, conductor SWR Sinfonieorchester Baden-Baden Freiburger Domsingknaben 28 January 2011 00:00, 1st mov. 18:45, 2nd mov.
- published: 14 Jan 2012
- views: 11272
- author: kutapika
PIANO RECITAL - FRANZ LISZT 200th BIRTHDAY ANNIVERSARY (2011) - Alvaro Ordoñez - Piano
- Order: Reorder
- Duration: 66:35
- Updated: 08 Dec 2012
PIANO RECITAL FRANZ LISZT 200th BIRTHDAY ANNIVERSARY PROGRAM Franz Liszt (1811-1886): - "Nuages Gris" Arranged by Álvaro Ordóñez (0: 00:29) - Valse Oubliée N° 3 (0: 04:46) - Hungarian Rhapsody N° 3 (0: 10:40) - Bülow March (0: 15:42) ------------------------------------------ Années de Pèlerinage - Troisième année (Years of pilgrimage - Third Year): (0: 20:41) - Angelus! Priere-aux anges gardiens (Angelus. Prayer to the Guardian Angels) (0: 21:15) - Aux ciprés de la Villa d'Este I (To the Cypresses de la Villa d'Este I: Threnody) (0: 29:11) - Aux ciprés de la Villa d'Este II (To the Cypresses de la Villa d'Este II: Threnody) (0: 34:52) - Les jeux d'eau à la Villa d'Este (The Fountains of the Villa d'Este) (0: 43:19) - Sunt Lacrymae Rerum (en mode hongrois) (There are tears for Thingns (In Hungarian mode)) (0: 49:27) - Marche funèbre (Funeral March) (0: 55:54) - Sursum corda (Lift up Your Hearts) (1 : 02 : 43) Álvaro Ordóñez - Piano Recorded at Sala Beethoven Conservatorio Antonio Maria Valencia Cali -- 2011
http://wn.com/PIANO_RECITAL_FRANZ_LISZT_200th_BIRTHDAY_ANNIVERSARY_2011_Alvaro_Ordoñez_Piano
PIANO RECITAL FRANZ LISZT 200th BIRTHDAY ANNIVERSARY PROGRAM Franz Liszt (1811-1886): - "Nuages Gris" Arranged by Álvaro Ordóñez (0: 00:29) - Valse Oubliée N° 3 (0: 04:46) - Hungarian Rhapsody N° 3 (0: 10:40) - Bülow March (0: 15:42) ------------------------------------------ Années de Pèlerinage - Troisième année (Years of pilgrimage - Third Year): (0: 20:41) - Angelus! Priere-aux anges gardiens (Angelus. Prayer to the Guardian Angels) (0: 21:15) - Aux ciprés de la Villa d'Este I (To the Cypresses de la Villa d'Este I: Threnody) (0: 29:11) - Aux ciprés de la Villa d'Este II (To the Cypresses de la Villa d'Este II: Threnody) (0: 34:52) - Les jeux d'eau à la Villa d'Este (The Fountains of the Villa d'Este) (0: 43:19) - Sunt Lacrymae Rerum (en mode hongrois) (There are tears for Thingns (In Hungarian mode)) (0: 49:27) - Marche funèbre (Funeral March) (0: 55:54) - Sursum corda (Lift up Your Hearts) (1 : 02 : 43) Álvaro Ordóñez - Piano Recorded at Sala Beethoven Conservatorio Antonio Maria Valencia Cali -- 2011
- published: 11 Feb 2012
- views: 1039
- author: Alvarordonez
Franz Liszt - Faust Symphony
- Order: Reorder
- Duration: 73:55
- Updated: 27 Dec 2012
Riccardo Muti, conductor Wiener Philharmoniker Michael Schade, tenor Konzertvereinigung Wiener Staatsopernchor 15 August 2009 00:00, 1st mov. 28:39, 2nd mov. 49:18, 3rd mov.
http://wn.com/Franz_Liszt_Faust_Symphony
Riccardo Muti, conductor Wiener Philharmoniker Michael Schade, tenor Konzertvereinigung Wiener Staatsopernchor 15 August 2009 00:00, 1st mov. 28:39, 2nd mov. 49:18, 3rd mov.
- published: 14 Jan 2012
- views: 16228
- author: kutapika
Franz Liszt - 14 Schubert Lieder
- Order: Reorder
- Duration: 68:52
- Updated: 20 Dec 2012
Oxana Yablonskaya, piano Franz Liszt - 14 Schubert Lieder Schubert - 12 Lieder, S558/R243: No. 2. Auf dem Wasser zu singen 00:04:59 Schubert - Winterreise, S561/R246: No. 6. Wasserflut 00:02:30 Schubert - Mullerlieder, S565/R249: No. 2. Der Muller under der Bach 00:07:10 Schubert - Schwanengesang, S560/R245: No. 8. Ihr Bild 00:02:34 Schubert - Schwanengesang, S560/R245: No. 7. Standchen (Leise flehen meine Lieder) 00:07:06 Schubert - 12 Lieder, S558/R243: No. 9. Standchen (Horch, horch! Der Lerch') 00:02:47 Schubert - 12 Lieder, S558/R243: No. 1. Sei mir gegrusset 00:06:06 Schubert - 6 Melodies, S563/R248: No. 4. Trockne Blumen 00:04:15 Schubert - 12 Lieder, S558/R243: No. 7: Fruhlingsglaube 00:05:00 Schubert - 12 Lieder, S558/R243: No. 3. Du bist die Ruh 00:06:08 Schubert - Schwanengesang, S560/R245: No. 12. Der Doppelganger 00:04:41 Schubert - 12 Lieder, S558/R243: No. 8: Gretchen am Spinnrade 00:04:28 Schubert - 12 Lieder, S558/R243: No. 11. Der Wanderer 00:07:16 Schubert - Schwanengesang, S560/R245: No. 3. Aufenthalt 00:03:51
http://wn.com/Franz_Liszt_14_Schubert_Lieder
Oxana Yablonskaya, piano Franz Liszt - 14 Schubert Lieder Schubert - 12 Lieder, S558/R243: No. 2. Auf dem Wasser zu singen 00:04:59 Schubert - Winterreise, S561/R246: No. 6. Wasserflut 00:02:30 Schubert - Mullerlieder, S565/R249: No. 2. Der Muller under der Bach 00:07:10 Schubert - Schwanengesang, S560/R245: No. 8. Ihr Bild 00:02:34 Schubert - Schwanengesang, S560/R245: No. 7. Standchen (Leise flehen meine Lieder) 00:07:06 Schubert - 12 Lieder, S558/R243: No. 9. Standchen (Horch, horch! Der Lerch') 00:02:47 Schubert - 12 Lieder, S558/R243: No. 1. Sei mir gegrusset 00:06:06 Schubert - 6 Melodies, S563/R248: No. 4. Trockne Blumen 00:04:15 Schubert - 12 Lieder, S558/R243: No. 7: Fruhlingsglaube 00:05:00 Schubert - 12 Lieder, S558/R243: No. 3. Du bist die Ruh 00:06:08 Schubert - Schwanengesang, S560/R245: No. 12. Der Doppelganger 00:04:41 Schubert - 12 Lieder, S558/R243: No. 8: Gretchen am Spinnrade 00:04:28 Schubert - 12 Lieder, S558/R243: No. 11. Der Wanderer 00:07:16 Schubert - Schwanengesang, S560/R245: No. 3. Aufenthalt 00:03:51
- published: 14 Nov 2012
- views: 639
- author: Wolfgang Amadé Mozart
Franz Liszt - Klavierkonzert Nr. 2 in A-Dur - Daniel Barenboim
- Order: Reorder
- Duration: 21:25
- Updated: 27 Dec 2012
Franz Liszt - Klavierkonzert Nr. 2 in A-Dur - Daniel Barenboim Daniel Barenboim und Pierre Boulez spielen Liszt Ruhrfestspiele 2011 in Essen Staatskapelle Berlin
http://wn.com/Franz_Liszt_Klavierkonzert_Nr_2_in_A-Dur_Daniel_Barenboim
Franz Liszt - Klavierkonzert Nr. 2 in A-Dur - Daniel Barenboim Daniel Barenboim und Pierre Boulez spielen Liszt Ruhrfestspiele 2011 in Essen Staatskapelle Berlin
- published: 17 Nov 2011
- views: 38131
- author: TheBleibtreu
Franz Liszt: Piano Concerto #1 E-flat major
- Order: Reorder
- Duration: 20:45
- Updated: 11 Dec 2012
Franz Liszt: Concerto for Piano and Orchestra #1 E-flat major Jovianney E. Cruz, piano Philippine Philharmonic Orchestra under the batton of Maestro Ruggero Barbieri
http://wn.com/Franz_Liszt_Piano_Concerto_1_E-flat_major
Franz Liszt: Concerto for Piano and Orchestra #1 E-flat major Jovianney E. Cruz, piano Philippine Philharmonic Orchestra under the batton of Maestro Ruggero Barbieri
- published: 10 Feb 2011
- views: 7673
- author: isispartners1
Sonata in B Minor, by Franz Liszt
- Order: Reorder
- Duration: 33:10
- Updated: 24 Dec 2012
Sonata in B Minor, by Franz Liszt. Performed by Vadim Monastyrski on February 19, 2012, in Leshowitz Recital Hall, John J. Cali School of Music, Montclair State University. Recorded and edited by Rodney Leinberger. Camera: Canon XF300; software: Adobe Production Premiere CS5.
http://wn.com/Sonata_in_B_Minor,_by_Franz_Liszt
Sonata in B Minor, by Franz Liszt. Performed by Vadim Monastyrski on February 19, 2012, in Leshowitz Recital Hall, John J. Cali School of Music, Montclair State University. Recorded and edited by Rodney Leinberger. Camera: Canon XF300; software: Adobe Production Premiere CS5.
- published: 26 Feb 2012
- views: 1088
- author: Rodney Leinberger
Franz Liszt Anées de Pèlerinage: Première Année - Suisse, Emilio Peroni - piano
- Order: Reorder
- Duration: 55:08
- Updated: 20 May 2012
Live recording, 5th. November 2011, Rostock, Germany
http://wn.com/Franz_Liszt_Anées_de_Pèlerinage_Première_Année_Suisse,_Emilio_Peroni_piano
Live recording, 5th. November 2011, Rostock, Germany
- published: 08 Feb 2012
- views: 819
- author: Tonregisseur
Franz Liszt Chamber Orchestra plays Bela Bartok
- Order: Reorder
- Duration: 31:43
- Updated: 29 Aug 2012
Janos Rolla, leader - Franz Liszt Chamber Orchestra play Bela Bartok: Music for strings, celesta and percussion Raniero Tazzi - Studio Art Concert Agency
http://wn.com/Franz_Liszt_Chamber_Orchestra_plays_Bela_Bartok
Janos Rolla, leader - Franz Liszt Chamber Orchestra play Bela Bartok: Music for strings, celesta and percussion Raniero Tazzi - Studio Art Concert Agency
- published: 19 May 2011
- views: 1453
- author: raniero tazzi
Franz Liszt ~ Sonata in B Minor ~ Premier recording by Arthur Friedheim ~ Leipzig 1905.
- Order: Reorder
- Duration: 25:03
- Updated: 03 Dec 2012
In many ways this is the definitive version of Liszt's B minor Sonata, Recorded in 1905 by Liszt's pupil and secretary Arthur Friedheim, this was the first recording of the complete Sonata, just twenty years after the death of Liszt. It is documented that Liszt himself admired Friedheim's interpretation of this work, so making allowances for the somewhat crude medium of the piano roll, you are hearing more or less what Liszt heard. In order to achieve greater authenticity, this 're-performance' was made on a Bluthner Grand Solophonola (88 note). Liszt's Sonata in B minor is counted as a masterpiece amongst the piano literature of the 19th century. For many years after the death of Liszt, Friedheim 'inherited'' if not 'owned' this work, and it is interesting to compare this forgotten recording to those of the modern era. Although one of the first and most famous gramophone recordings of the Sonata was made by Horowitz, this was in the 1920's when recording technology had advanced considerably. The previous and legendary generation of pianists from the Lisztian 'school' had no such advantage when in their prime some twenty years before in the 1900's when phonograph recordings were regarded as a novelty and of very short duration with considerable acoustic shortcomings. Therefore in the 1900's most pianists preferred the medium of the piano roll and made recordings, including D'Albert and Friedheim both of whom were in this respect prolific recording artists, one would ...
http://wn.com/Franz_Liszt_~_Sonata_in_B_Minor_~_Premier_recording_by_Arthur_Friedheim_~_Leipzig_1905
In many ways this is the definitive version of Liszt's B minor Sonata, Recorded in 1905 by Liszt's pupil and secretary Arthur Friedheim, this was the first recording of the complete Sonata, just twenty years after the death of Liszt. It is documented that Liszt himself admired Friedheim's interpretation of this work, so making allowances for the somewhat crude medium of the piano roll, you are hearing more or less what Liszt heard. In order to achieve greater authenticity, this 're-performance' was made on a Bluthner Grand Solophonola (88 note). Liszt's Sonata in B minor is counted as a masterpiece amongst the piano literature of the 19th century. For many years after the death of Liszt, Friedheim 'inherited'' if not 'owned' this work, and it is interesting to compare this forgotten recording to those of the modern era. Although one of the first and most famous gramophone recordings of the Sonata was made by Horowitz, this was in the 1920's when recording technology had advanced considerably. The previous and legendary generation of pianists from the Lisztian 'school' had no such advantage when in their prime some twenty years before in the 1900's when phonograph recordings were regarded as a novelty and of very short duration with considerable acoustic shortcomings. Therefore in the 1900's most pianists preferred the medium of the piano roll and made recordings, including D'Albert and Friedheim both of whom were in this respect prolific recording artists, one would ...
- published: 15 Apr 2012
- views: 1169
- author: RollaArtis
Franz Liszt - Piano Concerto No.1 in E flat Major - Enzo (RECITAL)
- Order: Reorder
- Duration: 21:27
- Updated: 24 Dec 2012
2nd mvt. - 5:55 3rd mvt. - 11:16 4th mvt. - 15:41 (just click) Murphy's Law : "Anything that can go wrong will go wrong". And everything went wrong prior to Lorenzo's solo piano recital with the Manila Symphony Orchestra last June 30, 2011 with Jeffrey Solares conducting. 1. The original schedule, June 25 had to be cancelled as Manila suddenly became a lake from terribly heavy rains spawned by a tropical storm. 2. June 30, the new date of the recital started as sunny and bright, but 3 hours before the concert the rains again poured like mad and everywhere there were flash floods, tying up traffic for miles. Almost 1/2 of the audience arrived late despite delaying the start of the program by 30 minutes. 3. Three practice sessions were originally scheduled with the orchestra, but because of the rains and floods during the week of the recital only one short practice of 1 1/2 hours occurred. That is why Enzo and the conductor had to "feel" each other's pulse very well during the recital lest major snafus could happen .... it was really nerve wracking!! 4. And the video-audio!! It has been almost a week of sleepless nights trying to synchronize the different sources of video and audio to no avail. There are some portions where the video seems ahead of the audio and vice-versa. I give up!! for the moment. The consolation? I think Enzo played very well and expressively. The credit equally goes to Jeffrey Solares the conductor who held everything together despite the chaos the ...
http://wn.com/Franz_Liszt_Piano_Concerto_No1_in_E_flat_Major_Enzo_RECITAL
2nd mvt. - 5:55 3rd mvt. - 11:16 4th mvt. - 15:41 (just click) Murphy's Law : "Anything that can go wrong will go wrong". And everything went wrong prior to Lorenzo's solo piano recital with the Manila Symphony Orchestra last June 30, 2011 with Jeffrey Solares conducting. 1. The original schedule, June 25 had to be cancelled as Manila suddenly became a lake from terribly heavy rains spawned by a tropical storm. 2. June 30, the new date of the recital started as sunny and bright, but 3 hours before the concert the rains again poured like mad and everywhere there were flash floods, tying up traffic for miles. Almost 1/2 of the audience arrived late despite delaying the start of the program by 30 minutes. 3. Three practice sessions were originally scheduled with the orchestra, but because of the rains and floods during the week of the recital only one short practice of 1 1/2 hours occurred. That is why Enzo and the conductor had to "feel" each other's pulse very well during the recital lest major snafus could happen .... it was really nerve wracking!! 4. And the video-audio!! It has been almost a week of sleepless nights trying to synchronize the different sources of video and audio to no avail. There are some portions where the video seems ahead of the audio and vice-versa. I give up!! for the moment. The consolation? I think Enzo played very well and expressively. The credit equally goes to Jeffrey Solares the conductor who held everything together despite the chaos the ...
- published: 13 Jul 2011
- views: 11385
- author: Lorenzo Medel
FRANZ LISZT- Fantaisie et fugue "ad nos, ad salutarem undam"
- Order: Reorder
- Duration: 28:18
- Updated: 24 Dec 2012
One of my favorites musics! WOW the most crazie music for organ! If you like it as much as I, DO KNOW!!!!! :D And for those who want to know, this is not a commercial recording.
http://wn.com/FRANZ_LISZT_Fantaisie_et_fugue_ad_nos,_ad_salutarem_undam
One of my favorites musics! WOW the most crazie music for organ! If you like it as much as I, DO KNOW!!!!! :D And for those who want to know, this is not a commercial recording.
- published: 13 Oct 2011
- views: 4875
- author: MegaDocalex
Ilya Kondratiev plays Franz Liszt: Piano Concerto No. 2 - Piano Competition Finale
- Order: Reorder
- Duration: 23:31
- Updated: 15 Dec 2012
Ton-Aufnahme/Audio-Recording: MDR FIGARO 23 year old Ilya Kondratiev plays Franz Liszts 2nd Piano Concerto for the Finale of the 7th International Franz Liszt Piano Competition at the CCN Weimarhalle on October 30th, 2011. For more information on the competition www.hfm-weimar.de
http://wn.com/Ilya_Kondratiev_plays_Franz_Liszt_Piano_Concerto_No_2_Piano_Competition_Finale
Ton-Aufnahme/Audio-Recording: MDR FIGARO 23 year old Ilya Kondratiev plays Franz Liszts 2nd Piano Concerto for the Finale of the 7th International Franz Liszt Piano Competition at the CCN Weimarhalle on October 30th, 2011. For more information on the competition www.hfm-weimar.de
- published: 02 Nov 2011
- views: 1666
- author: hfmFRANZLISZTweimar
Franz Liszt Sonata Tanski Music Autograph Facsimile b minor h moll si mineur
- Order: Reorder
- Duration: 29:59
- Updated: 22 Dec 2012
Franz Liszt (1811-1886) Piano Sonata b minor , Claudius TANSKI STEINWAY D ANNO 1901 (recording by MDG www.amazon.com ) I would like to thank from all of my heart : Dr. Wolf-Dieter Seiffert, Director Henle Edition, Munich, Germany, and Olav Rossbach, Henle Edition, for giving kind permission and organising contacts ! - www.henle.de - publisher of the Facsimile, still available in a wonderful Edition ! : www.henle.de Mr. Robert Owen Lehman, NY, USA - the Owner of the Autograph and - for a Pianist - the Owner of one of the greatest imaginable Treasures in Music ! and Dr. Frances Barulich, Curator of The Morgan Library & Museum, NY, for giving the kind permission of making this YT Video possible! www.youtube.com And thank you, my dear collegue Luca De Grazia from Lugano, Switzerland, for doing all the Video work with great patience! One of my secret wishes in Music became true with the following Mail : Dear Mr. Tanski, In reference to your letter of 11 March 2011, Mr. Lehman has given his permission for you to use the Henle facsimile edition of the manuscript of Liszt's B-minor Sonata (the original manuscript of which is owned Mr. Lehman) on your YouTube presentation, understanding that Henle has also agreed. Yours truly, Frances Barulich Mary Flagler Cary Curator of Music Manuscripts and Printed Music The Morgan Library & Museum 225 Madison Avenue New York, New York 10016 tel: 212 590-0368 email: fbarulich@themorgan.org www.amazon.com // Forthcoming MASTERCLASSES : Summer ...
http://wn.com/Franz_Liszt_Sonata_Tanski_Music_Autograph_Facsimile_b_minor_h_moll_si_mineur
Franz Liszt (1811-1886) Piano Sonata b minor , Claudius TANSKI STEINWAY D ANNO 1901 (recording by MDG www.amazon.com ) I would like to thank from all of my heart : Dr. Wolf-Dieter Seiffert, Director Henle Edition, Munich, Germany, and Olav Rossbach, Henle Edition, for giving kind permission and organising contacts ! - www.henle.de - publisher of the Facsimile, still available in a wonderful Edition ! : www.henle.de Mr. Robert Owen Lehman, NY, USA - the Owner of the Autograph and - for a Pianist - the Owner of one of the greatest imaginable Treasures in Music ! and Dr. Frances Barulich, Curator of The Morgan Library & Museum, NY, for giving the kind permission of making this YT Video possible! www.youtube.com And thank you, my dear collegue Luca De Grazia from Lugano, Switzerland, for doing all the Video work with great patience! One of my secret wishes in Music became true with the following Mail : Dear Mr. Tanski, In reference to your letter of 11 March 2011, Mr. Lehman has given his permission for you to use the Henle facsimile edition of the manuscript of Liszt's B-minor Sonata (the original manuscript of which is owned Mr. Lehman) on your YouTube presentation, understanding that Henle has also agreed. Yours truly, Frances Barulich Mary Flagler Cary Curator of Music Manuscripts and Printed Music The Morgan Library & Museum 225 Madison Avenue New York, New York 10016 tel: 212 590-0368 email: fbarulich@themorgan.org www.amazon.com // Forthcoming MASTERCLASSES : Summer ...
- published: 10 Oct 2011
- views: 4448
- author: tanskiclaudius
Michael Collins and the Franz Liszt Chamber Orchestra play Mozart
- Order: Reorder
- Duration: 28:59
- Updated: 29 Nov 2012
Michael Collins, clarinet - Janos Rolla, leader - Franz Liszt Chamber Orchestra play Wolfgang Amadeus Mozart: Clarinet Concerto K. 622 Raniero Tazzi - Studio Art Concert Agency
http://wn.com/Michael_Collins_and_the_Franz_Liszt_Chamber_Orchestra_play_Mozart
Michael Collins, clarinet - Janos Rolla, leader - Franz Liszt Chamber Orchestra play Wolfgang Amadeus Mozart: Clarinet Concerto K. 622 Raniero Tazzi - Studio Art Concert Agency
- published: 19 May 2011
- views: 2337
- author: raniero tazzi
Jenö Jando "Wanderer-Fantasie after Schubert" Franz Liszt
- Order: Reorder
- Duration: 22:04
- Updated: 05 Dec 2012
Wanderer-Fantasie for Piano and Orchestra after Schubert by Franz Liszt (1811-1886) Jenö Jando, piano Budapest Symphony Orchestra Andras Ligeti, conductor
http://wn.com/Jenö_Jando_Wanderer-Fantasie_after_Schubert_Franz_Liszt
Wanderer-Fantasie for Piano and Orchestra after Schubert by Franz Liszt (1811-1886) Jenö Jando, piano Budapest Symphony Orchestra Andras Ligeti, conductor
- published: 08 Jan 2011
- views: 3395
- author: gioiellidellamusica
Franz Liszt - Hungarian Rhapsodies, S244/R106
- Order: Reorder
- Duration: 72:34
- Updated: 21 Dec 2012
Jeno Jando, piano Franz Liszt - Hungarian Rhapsodies, S244/R106: No. 1 in E major 00:13:05 Hungarian Rhapsodies, S244/R106: No. 2 in C sharp minor 00:10:47 Hungarian Rhapsodies, S244/R106: No. 3 in B flat major 00:04:29 Hungarian Rhapsodies, S244/R106: No. 4 in E flat major 00:05:14 Hungarian Rhapsodies, S244/R106: No. 5 in E minor 00:08:30 Hungarian Rhapsodies, S244/R106: No. 6 in D flat major 00:07:12 Hungarian Rhapsodies, S244/R106: No. 7 in D minor 00:05:20 Hungarian Rhapsodies, S244/R106: No. 8 in F sharp minor 00:06:29 Hungarian Rhapsodies, S244/R106: No. 9 in E flat major, "Pesther Carneval" 00:11:27
http://wn.com/Franz_Liszt_Hungarian_Rhapsodies,_S244_R106
Jeno Jando, piano Franz Liszt - Hungarian Rhapsodies, S244/R106: No. 1 in E major 00:13:05 Hungarian Rhapsodies, S244/R106: No. 2 in C sharp minor 00:10:47 Hungarian Rhapsodies, S244/R106: No. 3 in B flat major 00:04:29 Hungarian Rhapsodies, S244/R106: No. 4 in E flat major 00:05:14 Hungarian Rhapsodies, S244/R106: No. 5 in E minor 00:08:30 Hungarian Rhapsodies, S244/R106: No. 6 in D flat major 00:07:12 Hungarian Rhapsodies, S244/R106: No. 7 in D minor 00:05:20 Hungarian Rhapsodies, S244/R106: No. 8 in F sharp minor 00:06:29 Hungarian Rhapsodies, S244/R106: No. 9 in E flat major, "Pesther Carneval" 00:11:27
- published: 11 Nov 2012
- views: 218
- author: Wolfgang Amadé Mozart
Franz Liszt: Fantasy and Fugue "Ad nos , ad salutarem undam"
- Order: Reorder
- Duration: 33:27
- Updated: 20 Dec 2012
Ádám Kiss plays the Paschen-organ of Lemland's church on the Åland Islands in Finland. The organ was build in the style of Cavaillé-Coll by Paschen, with 18 stops on two manuals and pedal. The facade and the technical design was made by Roland Monczynski, the tonal design and the voicing is a work of Helmuth Gripentrog and Kalevi Mäkinen.
http://wn.com/Franz_Liszt_Fantasy_and_Fugue_Ad_nos_,_ad_salutarem_undam
Ádám Kiss plays the Paschen-organ of Lemland's church on the Åland Islands in Finland. The organ was build in the style of Cavaillé-Coll by Paschen, with 18 stops on two manuals and pedal. The facade and the technical design was made by Roland Monczynski, the tonal design and the voicing is a work of Helmuth Gripentrog and Kalevi Mäkinen.
- published: 03 Dec 2011
- views: 1316
- author: MrFluteharmonique
FRANZ LISZT SONATA IN B MINOR WALTER PONCE
- Order: Reorder
- Duration: 32:00
- Updated: 14 Sep 2012
FRANZ LISZT SONATA IN B MINOR WALTER PONCE May 20 2010 Colony Theatre Miami Beach Florida www.miamipianofest.com Info on Walter Ponce miamipianofest.com
http://wn.com/FRANZ_LISZT_SONATA_IN_B_MINOR_WALTER_PONCE
FRANZ LISZT SONATA IN B MINOR WALTER PONCE May 20 2010 Colony Theatre Miami Beach Florida www.miamipianofest.com Info on Walter Ponce miamipianofest.com
- published: 26 May 2011
- views: 1211
- author: miamipianofestival
DORA DELIYSKA plays Franz Liszt, PIANO SONATA
- Order: Reorder
- Duration: 28:00
- Updated: 12 Nov 2012
DORA DELIYSKA plays Franz Liszt, PIANO SONATA an ELLA Sound & Video STUDIO VIENNA Production c2011 a MICHAEL CROITORU-WEISSMAN film a DORA DELIYSKA DVD production DORA DELIYSKA, piano plays Franz Liszt PIANO SONATA Sound, Camera, STEADYCAM, Light, Titles, Sound & Film Editing, Mastering: MICHAEL CROITORU-WEISSMAN DVD available for sale contact: michael.cw@chello.at ELLA STUDIO VIENNA Sound & Video Productions c2011 All rights reserved to ELLA STUDIO & DORA DELIYSKA DO NOT DOWNLOAD, DO NOT UPLOAD, DO NOT DUPLICATE!
http://wn.com/DORA_DELIYSKA_plays_Franz_Liszt,_PIANO_SONATA
DORA DELIYSKA plays Franz Liszt, PIANO SONATA an ELLA Sound & Video STUDIO VIENNA Production c2011 a MICHAEL CROITORU-WEISSMAN film a DORA DELIYSKA DVD production DORA DELIYSKA, piano plays Franz Liszt PIANO SONATA Sound, Camera, STEADYCAM, Light, Titles, Sound & Film Editing, Mastering: MICHAEL CROITORU-WEISSMAN DVD available for sale contact: michael.cw@chello.at ELLA STUDIO VIENNA Sound & Video Productions c2011 All rights reserved to ELLA STUDIO & DORA DELIYSKA DO NOT DOWNLOAD, DO NOT UPLOAD, DO NOT DUPLICATE!
- published: 14 Dec 2011
- views: 749
- author: michael croitoru-weissman
Franz Liszt - Piano Concerto No. 2 in A major - S. 125
- Order: Reorder
- Duration: 20:33
- Updated: 24 Oct 2012
Franz Liszt - Piano Concerto No. 2 in A major, S. 125 Boris Brott, Conductor National Academy Orchestra of Canada July 14, 2011 McIntyre Theatre, Mohawk College Hamilton, Ontario, Canada
http://wn.com/Franz_Liszt_Piano_Concerto_No_2_in_A_major_S_125
Franz Liszt - Piano Concerto No. 2 in A major, S. 125 Boris Brott, Conductor National Academy Orchestra of Canada July 14, 2011 McIntyre Theatre, Mohawk College Hamilton, Ontario, Canada
- published: 15 Jul 2011
- views: 518
- author: Quimboz
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Franz Liszt - Liebestraum - Love Dream
- Order: Reorder
- Duration: 5:50
- Updated: 14 Jan 2013
Franz Liszt - Liebestraum - Love Dream
http://wn.com/Franz_Liszt_Liebestraum_Love_Dream
Franz Liszt - Hungarian Rhapsody No.2 (Orchestra version)
- Order: Reorder
- Duration: 10:32
- Updated: 15 Jan 2013
Franz Liszt Hungarian Rhapsody No. 2 in C- Sharp Minor Franz Liszt, 1811-1886. Regarded as the greatest pianist of all time, Listz's genius extended far beyond the piano to expand musical composition and performance well beyond its 19th century limitations.
http://wn.com/Franz_Liszt_Hungarian_Rhapsody_No2_Orchestra_version
Franz Liszt Hungarian Rhapsody No. 2 in C- Sharp Minor Franz Liszt, 1811-1886. Regarded as the greatest pianist of all time, Listz's genius extended far beyond the piano to expand musical composition and performance well beyond its 19th century limitations.
- published: 15 Nov 2007
- views: 3379429
- author: 0OoFACUoO0
Franz Liszt - Hungarian Rhapsody no.2 (The Perfect Version)
- Order: Reorder
- Duration: 10:32
- Updated: 14 Jan 2013
Found this piece in my PC and decided to upload it. I don't know who is the piano player, but he/she plays the rhapsody very good.
http://wn.com/Franz_Liszt_Hungarian_Rhapsody_no2_The_Perfect_Version
Found this piece in my PC and decided to upload it. I don't know who is the piano player, but he/she plays the rhapsody very good.
- published: 09 Dec 2009
- views: 504963
- author: jazzkosova
Franz Liszt- Reminiscences des Huguenots
- Order: Reorder
- Duration: 72:44
- Updated: 14 Jan 2013
Franz Liszt (German: [fʁant͡s lɪst]); Hungarian: Liszt Ferencz, in modern use Liszt Ferenc) (Hungarian pronunciation: [list ˈfɛrɛnt͡s]), from 1859 to 1867 officially Franz Ritter von Liszt (October 22, 1811 -- July 31, 1886) was a 19th-century Hungarian..composer, pianist, conductor, and teacher. Played by: Leslie Howard
http://wn.com/Franz_Liszt_Reminiscences_des_Huguenots
Franz Liszt (German: [fʁant͡s lɪst]); Hungarian: Liszt Ferencz, in modern use Liszt Ferenc) (Hungarian pronunciation: [list ˈfɛrɛnt͡s]), from 1859 to 1867 officially Franz Ritter von Liszt (October 22, 1811 -- July 31, 1886) was a 19th-century Hungarian..composer, pianist, conductor, and teacher. Played by: Leslie Howard
- published: 21 Jul 2012
- views: 5839
- author: Thanh Ngoc Nguyen
Franz Liszt - Les préludes
- Order: Reorder
- Duration: 16:34
- Updated: 14 Jan 2013
Happy 200th Birthday to Franz Liszt! Franz Liszt (October 22, 1811 -- July 31, 1886) was a 19th-century Hungarian composer, pianist, conductor, and teacher. Liszt became renowned throughout Europe during the nineteenth century for his virtuosic skill as a pianist. He was said by his contemporaries to have been the most technically advanced pianist of his age and perhaps the greatest pianist of all time. Les préludes. Les préludes is the third of Franz Liszt's thirteen symphonic poems. Directed by Liszt himself, in April 1856 the score, and in January 1865 the orchestral parts, were published by Breitkopf & Härtel, Leipzig. Among Liszt's symphonic poems, Les préludes is the most popular. Conductor: Michel Plasson Orchestra: Dresdner Philharmonie
http://wn.com/Franz_Liszt_Les_préludes
Happy 200th Birthday to Franz Liszt! Franz Liszt (October 22, 1811 -- July 31, 1886) was a 19th-century Hungarian composer, pianist, conductor, and teacher. Liszt became renowned throughout Europe during the nineteenth century for his virtuosic skill as a pianist. He was said by his contemporaries to have been the most technically advanced pianist of his age and perhaps the greatest pianist of all time. Les préludes. Les préludes is the third of Franz Liszt's thirteen symphonic poems. Directed by Liszt himself, in April 1856 the score, and in January 1865 the orchestral parts, were published by Breitkopf & Härtel, Leipzig. Among Liszt's symphonic poems, Les préludes is the most popular. Conductor: Michel Plasson Orchestra: Dresdner Philharmonie
- published: 22 Oct 2011
- views: 16727
- author: Fledermaus1990
Franz Liszt - Dante Symphony
- Order: Reorder
- Duration: 41:28
- Updated: 11 Jan 2013
Sylvain Cambreling, conductor SWR Sinfonieorchester Baden-Baden Freiburger Domsingknaben 28 January 2011 00:00, 1st mov. 18:45, 2nd mov.
http://wn.com/Franz_Liszt_Dante_Symphony
Sylvain Cambreling, conductor SWR Sinfonieorchester Baden-Baden Freiburger Domsingknaben 28 January 2011 00:00, 1st mov. 18:45, 2nd mov.
- published: 14 Jan 2012
- views: 12321
- author: kutapika
Franz Liszt - Orpheus (1/2)
- Order: Reorder
- Duration: 5:46
- Updated: 14 Jan 2013
Franz Liszt (1811-1886) ORPHEUS, S98 (1853-1856) Symphonic Poem 4
http://wn.com/Franz_Liszt_Orpheus_1_2
Franz Liszt (1811-1886) ORPHEUS, S98 (1853-1856) Symphonic Poem 4
- published: 30 Mar 2008
- views: 83649
- author: DesAbends
Maksim Mrvica playing Franz Liszt's Hungarian Rhapsody No. 2
- Order: Reorder
- Duration: 9:59
- Updated: 14 Jan 2013
MY NEW BLOG: mattburrowspiano.blogspot.com FOLLOW ME ON TWITTER: twitter.com OTHER ACCOUNT: http For scores and more please visit www.maksimmrvica.com This was recorded live at the Roundhouse London.
http://wn.com/Maksim_Mrvica_playing_Franz_Liszt's_Hungarian_Rhapsody_No_2
MY NEW BLOG: mattburrowspiano.blogspot.com FOLLOW ME ON TWITTER: twitter.com OTHER ACCOUNT: http For scores and more please visit www.maksimmrvica.com This was recorded live at the Roundhouse London.
- published: 31 Aug 2006
- views: 2833048
- author: Mattyb2001uk
Franz Liszt - Un Sospiro (by Marc-André Hamelin)
- Order: Reorder
- Duration: 5:18
- Updated: 13 Jan 2013
The image quality is not very good, but this is one of the best performances of this piece I ever heard. Worth watching.
http://wn.com/Franz_Liszt_Un_Sospiro_by_Marc-André_Hamelin
The image quality is not very good, but this is one of the best performances of this piece I ever heard. Worth watching.
- published: 20 Jun 2006
- views: 694979
- author: carlosq
Liszt - Mephisto Waltz No. 1, S. 514 [André Laplante]
- Order: Reorder
- Duration: 11:41
- Updated: 14 Jan 2013
Der Tanz in der Dorfschenke, S514, R181, "Mephisto Waltz No. 1" (1859--62) This is the solo piano version of the famous first Mephisto Waltz by Hungarian composer Franz Liszt (1811-1886), performed here by the excellent Canadian pianist André Laplante. The work was inspired by an episode from "Faust" by Nikolaus Lenau: "There is a wedding feast in progress in the village inn, with music, dancing, carousing. Mephistopheles and Faust pass by, and Mephistopheles induces Faust to enter and take part in the festivities. Mephistopheles snatches the fiddle from the hands of a lethargic fiddler and draws from it indescribably seductive and intoxicating strains. The amorous Faust whirls about with a full-blooded village beauty in a wild dance; they waltz in mad abandon out of the room, into the open, away into the woods. The sounds of the fiddle grow softer and softer, and the nightingale warbles his love-laden song."
http://wn.com/Liszt_Mephisto_Waltz_No_1,_S_514_André_Laplante_
Der Tanz in der Dorfschenke, S514, R181, "Mephisto Waltz No. 1" (1859--62) This is the solo piano version of the famous first Mephisto Waltz by Hungarian composer Franz Liszt (1811-1886), performed here by the excellent Canadian pianist André Laplante. The work was inspired by an episode from "Faust" by Nikolaus Lenau: "There is a wedding feast in progress in the village inn, with music, dancing, carousing. Mephistopheles and Faust pass by, and Mephistopheles induces Faust to enter and take part in the festivities. Mephistopheles snatches the fiddle from the hands of a lethargic fiddler and draws from it indescribably seductive and intoxicating strains. The amorous Faust whirls about with a full-blooded village beauty in a wild dance; they waltz in mad abandon out of the room, into the open, away into the woods. The sounds of the fiddle grow softer and softer, and the nightingale warbles his love-laden song."
- published: 03 Jun 2011
- views: 100031
- author: musicanth
Franz Liszt: Liebestraum cello and piano
- Order: Reorder
- Duration: 5:27
- Updated: 21 Dec 2012
Cellist Seeli Toivio and her brother, pianist Kalle Toivio perform Franz Liszt (1811-1886) "Liebestraum" at Festival Servais 2007. Halle Basilica, Belgium, June 6, 2007. Festival Concert: Bicentennial Commemoration of the Belgian cello virtuoso Adrien François Servais (1807-1866). Servais Society WEBSITE: www.servais-vzw.org
http://wn.com/Franz_Liszt_Liebestraum_cello_and_piano
Cellist Seeli Toivio and her brother, pianist Kalle Toivio perform Franz Liszt (1811-1886) "Liebestraum" at Festival Servais 2007. Halle Basilica, Belgium, June 6, 2007. Festival Concert: Bicentennial Commemoration of the Belgian cello virtuoso Adrien François Servais (1807-1866). Servais Society WEBSITE: www.servais-vzw.org
- published: 24 Jan 2009
- views: 1006003
- author: Seeli Toivio
How are Justin Bieber, Franz Liszt and Jerusalem Connected? | Idea Channel | PBS
- Order: Reorder
- Duration: 9:03
- Updated: 14 Jan 2013
At first glance, Pop Wunderkind Justin Bieber aka "The Biebs" and revolutionary 19th Century pianist and composer Franz Liszt don't seem to have anything in common. And while they might not have any musical or biographical similarities, they both have had a powerful psychological effect on their fans. Fits of hysteria, screaming, and fainting are all common traits of "Bieber Fever" & "Lisztomania." But why? What is it that will cause a person to be so tremendously moved by a performer, a piece of art, a cityscape or even, heck, light refracting off of bits of water in the sky? Watch the episode and find out!!! Let us know what sorts of crazy ideas you have, about this episode and otherwise: Tweet at us! @pbsideachannel (yes, the longest twitter username ever) Email us! pbsideachannel [at] gmail [dot] com Hosted by Mike Rugnetta (@mikerugnetta) Made by Kornhaber Brown (www.kornhaberbrown.com) MUSIC Roglok: vimeo.com Savant - Ode To Joy soundcloud.com Chiptune - Kenzalol soundcloud.com Level 5: Room for the Homeless www.jamendo.com Want some more Idea Channel? Here's Last Week's episode: "Can Dungeons and Dragons Make You A Confident & Successful Person?" youtu.be Want another one? Here ya go: "Is Doctor Who a Religion?" youtu.be You want more? Check this one out: "What Do MP3s and Magic Spells Have In Common?" youtu.be
http://wn.com/How_are_Justin_Bieber,_Franz_Liszt_and_Jerusalem_Connected?_|_Idea_Channel_|_PBS
At first glance, Pop Wunderkind Justin Bieber aka "The Biebs" and revolutionary 19th Century pianist and composer Franz Liszt don't seem to have anything in common. And while they might not have any musical or biographical similarities, they both have had a powerful psychological effect on their fans. Fits of hysteria, screaming, and fainting are all common traits of "Bieber Fever" & "Lisztomania." But why? What is it that will cause a person to be so tremendously moved by a performer, a piece of art, a cityscape or even, heck, light refracting off of bits of water in the sky? Watch the episode and find out!!! Let us know what sorts of crazy ideas you have, about this episode and otherwise: Tweet at us! @pbsideachannel (yes, the longest twitter username ever) Email us! pbsideachannel [at] gmail [dot] com Hosted by Mike Rugnetta (@mikerugnetta) Made by Kornhaber Brown (www.kornhaberbrown.com) MUSIC Roglok: vimeo.com Savant - Ode To Joy soundcloud.com Chiptune - Kenzalol soundcloud.com Level 5: Room for the Homeless www.jamendo.com Want some more Idea Channel? Here's Last Week's episode: "Can Dungeons and Dragons Make You A Confident & Successful Person?" youtu.be Want another one? Here ya go: "Is Doctor Who a Religion?" youtu.be You want more? Check this one out: "What Do MP3s and Magic Spells Have In Common?" youtu.be
- published: 17 Oct 2012
- views: 60273
- author: pbsideachannel
Franz Liszt - Les préludes, symphonic poem No.3, S.97
- Order: Reorder
- Duration: 15:56
- Updated: 14 Jan 2013
Les préludes (from Alphonse de Lamartine), symphonic poem No.3, S.97. Author: Franz Liszt (1811-1886). Conductor: Daniel Barenboim & Chicago Symphony Orchestra
http://wn.com/Franz_Liszt_Les_préludes,_symphonic_poem_No3,_S97
Les préludes (from Alphonse de Lamartine), symphonic poem No.3, S.97. Author: Franz Liszt (1811-1886). Conductor: Daniel Barenboim & Chicago Symphony Orchestra
- published: 29 Jun 2011
- views: 39639
- author: IlaryRhineKlange
Liszt: Liebestraum No. 3, Notturno (Barenboim)
- Order: Reorder
- Duration: 4:40
- Updated: 14 Jan 2013
Daniel Barenboim plays the famous Liebestraume by Franz Liszt.
http://wn.com/Liszt_Liebestraum_No_3,_Notturno_Barenboim
Daniel Barenboim plays the famous Liebestraume by Franz Liszt.
- published: 26 May 2009
- views: 264411
- author: Pianoplayer002
Franz Liszt - Liebestraum
- Order: Reorder
- Duration: 4:56
- Updated: 06 Jan 2013
Pictures from Olden, Norway Music: Franz Liszt - Liebestraum
http://wn.com/Franz_Liszt_Liebestraum
Pictures from Olden, Norway Music: Franz Liszt - Liebestraum
- published: 01 Nov 2009
- views: 44744
- author: betttyblue
Franz Liszt Hungarian Rhapsody No. 2 - Josef Bulva
- Order: Reorder
- Duration: 9:20
- Updated: 14 Jan 2013
Josef Bulva performs Hungarian Rhapsody no.2 by Franz Liszt....
http://wn.com/Franz_Liszt_Hungarian_Rhapsody_No_2_Josef_Bulva
Josef Bulva performs Hungarian Rhapsody no.2 by Franz Liszt....
- published: 15 Jun 2008
- views: 412203
- author: oHsNaP1337
Franz Liszt - Faust Symphony
- Order: Reorder
- Duration: 73:55
- Updated: 13 Jan 2013
Riccardo Muti, conductor Wiener Philharmoniker Michael Schade, tenor Konzertvereinigung Wiener Staatsopernchor 15 August 2009 00:00, 1st mov. 28:39, 2nd mov. 49:18, 3rd mov.
http://wn.com/Franz_Liszt_Faust_Symphony
Riccardo Muti, conductor Wiener Philharmoniker Michael Schade, tenor Konzertvereinigung Wiener Staatsopernchor 15 August 2009 00:00, 1st mov. 28:39, 2nd mov. 49:18, 3rd mov.
- published: 14 Jan 2012
- views: 16885
- author: kutapika
Dinu Lipatti, Franz Liszt, Gnomenreigen, La Leggierezza
- Order: Reorder
- Duration: 7:29
- Updated: 13 Jan 2013
Rare recording of two études de concert of Franz Liszt by Dinu Lipatti. Gnomereigen is in a set (1941) of Test Recordings Bucharest including Brahms's Intermezzo op. 116 no 2, Bach, Chorale "Jesus bleibet meine Freude", Scarlatti's Sonata Longo 387, Chopin's Etude op. 10 n. 5, Schumann's Sympinic Etude op. 13 N. 9 and this Gnomenreigen. Second recording (London, 1947) is a copy of a studio BBC Recording. This copy of "La Leggierezza" is not complete (missing the first two bars).
http://wn.com/Dinu_Lipatti,_Franz_Liszt,_Gnomenreigen,_La_Leggierezza
Rare recording of two études de concert of Franz Liszt by Dinu Lipatti. Gnomereigen is in a set (1941) of Test Recordings Bucharest including Brahms's Intermezzo op. 116 no 2, Bach, Chorale "Jesus bleibet meine Freude", Scarlatti's Sonata Longo 387, Chopin's Etude op. 10 n. 5, Schumann's Sympinic Etude op. 13 N. 9 and this Gnomenreigen. Second recording (London, 1947) is a copy of a studio BBC Recording. This copy of "La Leggierezza" is not complete (missing the first two bars).
- published: 13 Oct 2008
- views: 21385
- author: GiovanniEMB
Franz Liszt - Via Crucis (1/5) Intro + Stations I-III
- Order: Reorder
- Duration: 9:36
- Updated: 06 Aug 2012
Franz Liszt (1811-1886) Introduction: Vexilla Regis Station I: Jesus is condemned to death (4:53) Station II: Jesus carries the cross (5:45) Station III: Jesus falls the first time (8:02) Taverner Consort and Choir conducted by Andrew Parrott.
http://wn.com/Franz_Liszt_Via_Crucis_1_5_Intro_+_Stations_I-III
Franz Liszt (1811-1886) Introduction: Vexilla Regis Station I: Jesus is condemned to death (4:53) Station II: Jesus carries the cross (5:45) Station III: Jesus falls the first time (8:02) Taverner Consort and Choir conducted by Andrew Parrott.
- published: 01 Aug 2009
- views: 24284
- author: bartje11
(How to Play) Franz Liszt - Hungarian Rhapsody No. 2 (Full Piece) on Piano (100%)
- Order: Reorder
- Duration: 9:24
- Updated: 14 Jan 2013
The Lassan and Friska part and the slower version for both were also available on my channel. Please do not hesitate to message me to request for a slower version or other piano songs "How to".
http://wn.com/How_to_Play_Franz_Liszt_Hungarian_Rhapsody_No_2_Full_Piece_on_Piano_100_
The Lassan and Friska part and the slower version for both were also available on my channel. Please do not hesitate to message me to request for a slower version or other piano songs "How to".
- published: 31 Dec 2010
- views: 153706
- author: Emmanthe
(How to Play) Franz Liszt - Hungarian Rhapsody No. 2 (Friska Only) on Piano (100%)
- Order: Reorder
- Duration: 4:31
- Updated: 14 Jan 2013
The full song, the slower version of Friska and the Lassan part were also available on my channel. Please do not hesitate to message me to request for a slower version or other piano songs "How to".
http://wn.com/How_to_Play_Franz_Liszt_Hungarian_Rhapsody_No_2_Friska_Only_on_Piano_100_
The full song, the slower version of Friska and the Lassan part were also available on my channel. Please do not hesitate to message me to request for a slower version or other piano songs "How to".
- published: 04 Jan 2011
- views: 70178
- author: Emmanthe
Franz Liszt (Polonaise Brillante for Piano and Orchestra)
- Order: Reorder
- Duration: 9:34
- Updated: 02 Jan 2013
this piece was originally composed solely for the piano by CM von Weber (Polonaise Brillante "L'Hilarite" op. 72), later arranged for piano and orchestra by Liszt (S367). performed by the german orchestra Gewandhausorchester Leipzig conducted by Masur, and Michel Beroff (piano)
http://wn.com/Franz_Liszt_Polonaise_Brillante_for_Piano_and_Orchestra
this piece was originally composed solely for the piano by CM von Weber (Polonaise Brillante "L'Hilarite" op. 72), later arranged for piano and orchestra by Liszt (S367). performed by the german orchestra Gewandhausorchester Leipzig conducted by Masur, and Michel Beroff (piano)
- published: 07 Mar 2008
- views: 143322
- author: pineapple70000
12 Grandes Etudes No.4 - Franz Liszt
- Order: Reorder
- Duration: 6:23
- Updated: 07 Jan 2013
this powerful and amazing piece is the no.4 of the set of Douze Grandes Etudes publsihed by Franz Liszt in 1837, and this piece, in 1851 became in one of the most amazing pieces ever written: "Mazeppa" Enjoy it :D
http://wn.com/12_Grandes_Etudes_No4_Franz_Liszt
this powerful and amazing piece is the no.4 of the set of Douze Grandes Etudes publsihed by Franz Liszt in 1837, and this piece, in 1851 became in one of the most amazing pieces ever written: "Mazeppa" Enjoy it :D
- published: 28 Jun 2008
- views: 102972
- author: nazhiitoxx
4:49
Tristan Pfaff, piano - Franz Liszt, La Danza (live)
In the nineteenth century with its fierce struggles for the independence of nations, Liszt...
published: 09 May 2011
author: AparteTV
Tristan Pfaff, piano - Franz Liszt, La Danza (live)
In the nineteenth century with its fierce struggles for the independence of nations, Liszt was projected as a European, aspiring to "represent in Europe an element of intelligence, honour and talent". He wanted in fact to be the child of every nation, loving and singing of France, Italy, Germany, Hungary, not to mention Russia and Poland. The virtuoso had played all the keyboard literature and travelled the roads and seas; the thinker had nourished his intellect through his readings of Lamennais, Lamartine and Hugo, Shakespeare and Byron, Dante and Petrarch, Goethe and Schiller; the composer of songs, indebted to Italian bel canto, the French romance and the German chorale, set texts written in six languages, not counting Latin. Hesitating between pure creation and transcription, which called upon his gifts as a wizard of the keyboard throughout his lifetime, he thus paid tribute to every facet of Western art, as may be seen from this recital — or "soliloquy", to use his own expression. Recording producer: Nicolas Bartholomée. Film director: Guillaume L'Hôte. Filmed at Salle Cortot - Paris www.littletribeca.com http eboutique.harmoniamundi.com
- published: 09 May 2011
- views: 4028
- author: AparteTV
5:00
Paganini-Liszt La Campanella HQ
Live from Seoul. Encore #1. Liszt "La Campanella" Buy La Campanella video www.amazon.co.uk...
published: 07 Dec 2008
author: ValentinaLisitsa
Paganini-Liszt La Campanella HQ
Live from Seoul. Encore #1. Liszt "La Campanella" Buy La Campanella video www.amazon.co.uk
- published: 07 Dec 2008
- views: 2352235
- author: ValentinaLisitsa
10:03
Victor Borge & Mike Wallace with Franz Liszt part 1
Mike Wallace interview with "Franz Liszt." In this clip, Victor Borge plays the part of Li...
published: 05 Sep 2011
author: Milewskige
Victor Borge & Mike Wallace with Franz Liszt part 1
Mike Wallace interview with "Franz Liszt." In this clip, Victor Borge plays the part of Liszt and discusses his life, music, and his fellow composers with humor.
- published: 05 Sep 2011
- views: 7418
- author: Milewskige
2:11
Denis Kozhukhin - Franz Liszt - "Mazeppa" Etude
Excerpt from a concert broadcast live and available at: www.medici.tv Recorded live at the...
published: 10 May 2012
author: medicitv
Denis Kozhukhin - Franz Liszt - "Mazeppa" Etude
Excerpt from a concert broadcast live and available at: www.medici.tv Recorded live at the Louvre Auditorium on April 25, 2012. Denis Kozhukhin, piano Franz Liszt Transcendental Etudes 4. Mazeppa : Allegro
- published: 10 May 2012
- views: 8683
- author: medicitv
2:17
Tristan Pfaff, piano - Franz Liszt, Rakoczy March (live)
In the nineteenth century with its fierce struggles for the independence of nations, Liszt...
published: 09 May 2011
author: AparteTV
Tristan Pfaff, piano - Franz Liszt, Rakoczy March (live)
In the nineteenth century with its fierce struggles for the independence of nations, Liszt was projected as a European, aspiring to "represent in Europe an element of intelligence, honour and talent". He wanted in fact to be the child of every nation, loving and singing of France, Italy, Germany, Hungary, not to mention Russia and Poland. The virtuoso had played all the keyboard literature and travelled the roads and seas; the thinker had nourished his intellect through his readings of Lamennais, Lamartine and Hugo, Shakespeare and Byron, Dante and Petrarch, Goethe and Schiller; the composer of songs, indebted to Italian bel canto, the French romance and the German chorale, set texts written in six languages, not counting Latin. Hesitating between pure creation and transcription, which called upon his gifts as a wizard of the keyboard throughout his lifetime, he thus paid tribute to every facet of Western art, as may be seen from this recital — or "soliloquy", to use his own expression. Recording producer: Nicolas Bartholomée. Film director: Guillaume L'Hôte. Filmed at Salle Cortot - Paris www.littletribeca.com http eboutique.harmoniamundi.com
- published: 09 May 2011
- views: 5279
- author: AparteTV
3:05
Umi Plays Gnomenreigen By Franz Liszt
♫ bit.ly ♫ bit.ly ♫ Umi Garrett plays Gnomenreigen by Franz Liszt as an encore to her perf...
published: 13 May 2011
author: UMIPIANO
Umi Plays Gnomenreigen By Franz Liszt
♫ bit.ly ♫ bit.ly ♫ Umi Garrett plays Gnomenreigen by Franz Liszt as an encore to her performance with the Thayer Symphony Orchestra. Just before playing Gnomenreigen, Umi had performed the third movement of Mozart Concerto No 23 with the Thayer Symhpony Orchestra, which was conducted by Maestro Toshimasa Francis Wada on April 16th, 2011. To hear Umi's performance of Mozart Concerto No 23 with the Thayer Symphony Orchestra, choose any of the videos below: www.youtube.com (Movement 1) www.youtube.com (Movement 2) www.youtube.com (Movement 3)
- published: 13 May 2011
- views: 11661
- author: UMIPIANO
36:22
Pogorelich-Franz Liszt Sonata in B minor(complete), Live 1993
1993 Live concert recording. Franz Liszt Sonata in B minor played by Maestro Ivo Pogorelic...
published: 01 Apr 2011
author: chopin4321
Pogorelich-Franz Liszt Sonata in B minor(complete), Live 1993
1993 Live concert recording. Franz Liszt Sonata in B minor played by Maestro Ivo Pogorelich (1958). The recording of this recital is dedicated to the memory of Ivo Pogorelich´s mentor, teacher, and wife, Alice Kerezade, who lovingly passed on to him the tradition of the Liszt-Siloti school, before her untimely death in 1996. This recording pays homage to this exceptionally refined, vissionary, and truly revolutionary woman, who made Pogorelich a unique artist of genius. Ivo Pogorelich is an artist of the highest caliber, discipline and musicianship. He is the archetype of the modern artist, the isolated and courageus master, who finds his own way to new heights of expression, no matter the prejudices or the barriers of misunderstanding raised against him. He stands alone at the beginning of a new epoch like a prophet, mapping the routes that art would take. Pogorelich´s cathartic and mystical sound, is concerned with the ultimate mysteries that transcend this world. His grandiose, colossal and majestic art, symbolizes the struggle of the human soul to find release from the bonds of its material body. His exquiste and overwhelming music continues to echo throughout the entire performance and beyond, so the action is at once momentary, eternal and complete. Pogorelich´s interpretations are indescribably beautiful and irresistible. His sound is pure poetry and extremely emotional, yet entirely unsentimental. We are hypnotazed by his new and radical naturalness, by his ...
- published: 01 Apr 2011
- views: 36825
- author: chopin4321
10:32
Franz Liszt - Scherzo and March - VLADIMIR HOROWITZ LIVE
Played live by Vladimir Horowitz, Queens College, New York in 1967....
published: 04 May 2009
author: deviantrake
Franz Liszt - Scherzo and March - VLADIMIR HOROWITZ LIVE
Played live by Vladimir Horowitz, Queens College, New York in 1967.
- published: 04 May 2009
- views: 5726
- author: deviantrake
1:50
Lang Lang on live concert for Franz Liszt's 200th birthday
XDC Entertainment is proud to announce the distribution of a special event performed by re...
published: 30 Sep 2011
author: alternativecontent
Lang Lang on live concert for Franz Liszt's 200th birthday
XDC Entertainment is proud to announce the distribution of a special event performed by renowned international pianist Lang Lang, with Philadelphia Orchestra and Maestro Charles Dutoit, live from Philadelphia on October 23 2011 in cinemas across Europe and Asia. The acclaimed virtuoso will be celebrating Franz Liszt's 200th birthday with a concert transmitted live and as-live, which XDC Entertainment will broadcast into 150 cinemas in Europe and Asia. The n°1 pan-European digital cinema service company has signed a distribution agreement with Sony Classical to distribute the work of the pianist, whose reach and appeal to mainstream audiences has heralded Lang Lang as the "hottest artist on the classical music planet" by the New York Times. This event is co-produced with ZDF and in cooperation with ARTE. "The cinemacast is a first-class opportunity to bring Liszt's music to audiences throughout the country with contemporary technology," said Lang Lang. "I look forward to playing with the Philadelphia Orchestra and Maestro Charles Dutoit and celebrating this special birthday with music aficionados internationally." The pianist was inspired to play at the age of 2 after hearing the Hungarian Rhapsody No. 2 by Franz Liszt in a Tom and Jerry cartoon and credits the composer with motivating him to take up the instrument at such a young age. Among other pieces, he will perform Liszt's famed Piano Concerto No. 1 in conjunction with the Philadelphia Orchestra, conducted by Maestro ...
- published: 30 Sep 2011
- views: 3715
- author: alternativecontent
15:00
Ivo Pogorelich - (1/3) Franz Liszt Sonata in B minor, Live 1993
1993 Live concert recording. Franz Liszt Sonata in B minor (1/3) played by Maestro Ivo Pog...
published: 29 Mar 2011
author: chopin4321
Ivo Pogorelich - (1/3) Franz Liszt Sonata in B minor, Live 1993
1993 Live concert recording. Franz Liszt Sonata in B minor (1/3) played by Maestro Ivo Pogorelich (1958). The recording of this recital is dedicated to the memory of Ivo Pogorelich´s mentor, teacher, and wife, Alice Kerezade, who lovingly passed on to him the tradition of the Liszt-Siloti school, before her untimely death in 1996. This recording pays homage to this exceptionally refined, vissionary, and truly revolutionary woman, who made Pogorelich a unique artist of genius. Ivo Pogorelich is an artist of the highest caliber, discipline and musicianship. He is the archetype of the modern artist, the isolated and courageus master, who finds his own way to new heights of expression, no matter the prejudices or the barriers of misunderstanding raised against him. He stands alone at the beginning of a new epoch like a prophet, mapping the routes that art would take. Pogorelich´s cathartic and mystical sound, is concerned with the ultimate mysteries that transcend this world. His grandiose, colossal and majestic art, symbolizes the struggle of the human soul to find release from the bonds of its material body. His exquiste and overwhelming music continues to echo throughout the entire performance and beyond, so the action is at once momentary, eternal and complete. Pogorelich´s interpretations are indescribably beautiful and irresistible. His sound is pure poetry and extremely emotional, yet entirely unsentimental. We are hypnotazed by his new and radical naturalness, by his ...
- published: 29 Mar 2011
- views: 5704
- author: chopin4321
1:42
Franz LISZT Consolation No 1, S 172 - Michel Mananes Live Recording
Michel Mañanes study piano in France, Spain and Austria. With recitals for Europa and Sout...
published: 28 Nov 2011
author: Michel Mananes
Franz LISZT Consolation No 1, S 172 - Michel Mananes Live Recording
Michel Mañanes study piano in France, Spain and Austria. With recitals for Europa and Southamerica specially. He won first prize in several young piano competitions. He is Piano Teacher in Madrid and continue to give concerts.Rachmaninov moment musical. classical concert pianist. www.michelmananes.com Michel Mañanes has obtained, recently, the University Title of "Expert in Pianistic Interpretation", gotten with "Cum Laudae" by Unanimous vote (International University of Andalusia) The Liszt Consolations are fragments of pure Lisztian life and color. Liszt wrote the consolations around 1849-1850. Nobody's quite sure where the title Consolations comes from - the most likely explanation is that Liszt was inspired by some volume of poetry or other. Liszt had actually had brainwaves for the Consolations a lot earlier than the year of publication (1850). One of them even dates all the way back to 1844! There are 6 Consolations. Since they're so small they sound best when played end-to-end (the tempo indications also suggest this is the proper way to play them), although a lot of pianists choose to only perform one or two. Out of all of them, number 6 is the most appropriate for performance as a standalone piece. The six consolations by Franz Liszt are deeply emotional and inspiring pieces. Each one has so many different ways of being interpreted. Each performance should be unique and draw on the emotions of the performer and listeners. The key signatures hardly change from ...
- published: 28 Nov 2011
- views: 502
- author: Michel Mananes
6:18
FRANZ LISZT Hungarian Rhapsody 6 - Michel Mananes Live Recording
For better Audio: www.youtube.com LISZT Bicentenary of his Birthday! Michel Mañanes playin...
published: 27 Jan 2011
author: Michel Mananes
FRANZ LISZT Hungarian Rhapsody 6 - Michel Mananes Live Recording
For better Audio: www.youtube.com LISZT Bicentenary of his Birthday! Michel Mañanes playing Live The Hungarian Rhapsody No 6 B flat major Of Liszt in Madrid.With recitals for europa and suramerica specially.Has won first prize in several young piano competitions. He is Piano Teacher in Madrid and continue to give concerts.Hungarian rhapsody.Classical concert pianist Michel Mañanes has obtained, recently, the University Title of "Expert in Pianistic Interpretation", gotten with "Cum Laudae" by Unanimous vote (International University of Andalusia) www.myspace.com Liszt, Franzfränts lĭst, 1811--86, Hungarian composer and pianist. Liszt was a revolutionary figure of romantic music and was acknowledged as the greatest pianist of his time. He made his debut at nine, going thereafter to Vienna to study with Czerny and Salieri. In Paris (1823--25) he knew all the principal artistic figures of the period and was influenced by Berlioz, Chopin, and Paganini. He lived with Mme d'Agoult (better known by her pen name, Daniel Stern) from 1833 to 1844, and they had three children; their daughter Cosima became the wife of Hans von Bülow and later of Wagner. As a piano virtuoso, Liszt enthralled his audiences with his expressive interpretations and grand style of playing, augmented with dramatic gestures. In 1848 he decided to make a career as a composer, and became musical director to the duke of Weimar. He remained at Weimar until 1859, and two years later went to Rome, where he became ...
- published: 27 Jan 2011
- views: 3537
- author: Michel Mananes
14:53
Ivo Pogorelich - (2/3) Franz Liszt Sonata in B minor, Live 1993
1993 Live concert recording. Franz Liszt Sonata in B minor (2/3) played by Maestro Ivo Pog...
published: 30 Mar 2011
author: chopin4321
Ivo Pogorelich - (2/3) Franz Liszt Sonata in B minor, Live 1993
1993 Live concert recording. Franz Liszt Sonata in B minor (2/3) played by Maestro Ivo Pogorelich (1958). The recording of this recital is dedicated to the memory of Ivo Pogorelich´s mentor, teacher, and wife, Alice Kerezade, who lovingly passed on to him the tradition of the Liszt-Siloti school, before her untimely death in 1996. This recording pays homage to this exceptionally refined, vissionary, and truly revolutionary woman, who made Pogorelich a unique artist of genius. Ivo Pogorelich is an artist of the highest caliber, discipline and musicianship. He is the archetype of the modern artist, the isolated and courageus master, who finds his own way to new heights of expression, no matter the prejudices or the barriers of misunderstanding raised against him. He stands alone at the beginning of a new epoch like a prophet, mapping the routes that art would take. Pogorelich´s cathartic and mystical sound, is concerned with the ultimate mysteries that transcend this world. His grandiose, colossal and majestic art, symbolizes the struggle of the human soul to find release from the bonds of its material body. His exquiste and overwhelming music continues to echo throughout the entire performance and beyond, so the action is at once momentary, eternal and complete. Pogorelich´s interpretations are indescribably beautiful and irresistible. His sound is pure poetry and extremely emotional, yet entirely unsentimental. We are hypnotazed by his new and radical naturalness, by his ...
- published: 30 Mar 2011
- views: 1574
- author: chopin4321
8:06
Volodos - Franz Liszt Hungarian Rhapsody No. 13
A live performance of Arcadi Volodos....
published: 19 Jun 2006
author: pianozuelo
Volodos - Franz Liszt Hungarian Rhapsody No. 13
A live performance of Arcadi Volodos.
- published: 19 Jun 2006
- views: 102071
- author: pianozuelo
Vimeo results:
8:59
Little Big Berlin
directed by pilpop www.pilpop.de
Diesen wundervollen Film widme ich meiner Stadt Berlin i...
published: 09 Aug 2010
author: pilpop
Little Big Berlin
directed by pilpop www.pilpop.de
Diesen wundervollen Film widme ich meiner Stadt Berlin in der ich seit 19 Jahre lebe. Die Berliner Architektur ist zwar besonders schön, aber erst mit den Berlinern wird Berlin zu so einer einmaligen schönen Stadt wie sie eine ist. Man kann an jedem Eck etwas besonderes entdecken. Und am besten filmt man dies auch gleich. :D
Gefilmt mit meiner geliebten Sony HC9. Geschnitten und bearbeitet mit Sony Vegas Pro 9. Den Miniatur Effekt nennt man Tilt Shift, dessen Ursprung von einem bestimmten Objektiv stammt, mit dem man sonst eher Architektur fotografiert aber dieser Effekt ein Nebenprodukt ist. Digital lässt sich dieser Effekt nachstellen.
Die geniale Musik stammt von "Franz Liszt" mit "Hungarian Rhapsody No.2".
----------------------------------------------------------------------------------------------
I dedicate this film to Berlin where I have been living for 19 years now. While the architecture of Berlin is stunningly beautiful, only its inhabitants make Berlin the unique city that it is. In every corner there is something new to discover. And the best thing to do is to film it.
Filmed with my beloved Sony HC9. Edited with Sony Vegas Pro 9.The miniature effect is called tilt-shift, which originates from a particular lens that was used to photograph architecture. The miniature effect is a by-product of that. It can also be achieved by digital postprocessing.
Music: “Hungarian Rhapsody No. 2” by Franz Liszt
14:51
Franz Liszt - Ballade in b minor nr.2 - Alessio Nanni, piano
The Steinway Artist Alessio Nanni plays the Ballade in b minor nr.2 by Franz Liszt.
This ...
published: 28 May 2011
author: Alessio Nanni
Franz Liszt - Ballade in b minor nr.2 - Alessio Nanni, piano
The Steinway Artist Alessio Nanni plays the Ballade in b minor nr.2 by Franz Liszt.
This piano work unquestionably represents the beauty of darkness in one of Liszt's most intriguing rendering ever.
Unexplainably this Ballade is also one of his great neglected piano work ever.
This piano work is based on a Byzantine myth, 'Hero and Leander', relating the story of Hero, a priestess of Aphrodite who dwelt in a tower in Sestos on the European side of the Dardanelles, and Leander, a young man from Abydos on the opposite side of the strait. Leander fell in love with Hero and would swim every night across the Hellespont to be with her. Hero would light a lamp at the top of her tower to guide his way.
Succumbing to Leander's soft words, and to his argument that Aphrodite, as goddess of love, would scorn the worship of a virgin, Hero allowed him to make love to her. This routine lasted through the warm summer. But one stormy winter night, the waves tossed Leander in the sea and the breezes blew out Hero's light, and Leander lost his way, and was drowned. Hero threw herself from the tower in grief and died as well.
Liszt's ending definitely is not a tragic one, though. There is certainly a storm at the end as the soaring waves of the Hellespont and the love duet commingle, but one way or another they make it out of the storm.
__________________________________________________________
Recorded on may 1st 2011 at Passadori Steinway Hall - Brescia
Produced in collaboration with passadoripianoforti.it.
Video release date : 6/6/2011
IMPORTANT NOTICE:
We suggest to wait until the video is fully downloaded before start watching.
Switching from Flash Player to HTML5 player is strongly recommended in order to avoid any frame-drop.
Please fullscreen it.
Produced by © WHITE NOISE FACTORY
Piano technician: Giulio Passadori
Logistic supervisor: Flavio Gheruzzi
Piano: Steinway & Sons, Concert Grand mod. D
Recorded in super high definition: 96khz/24 bit technology.
Special thanks to: Simona Passadori.
© by Alessio Nanni - All Rights Reserved
alessionanni.com
0:17
Franz Liszt
veronikagummel.de
Franz Liszt Jahr 2011
Veronika Gummel: Weimars VIPs reloaded
Weimar h...
published: 24 Jun 2011
author: Schmittchen Schleicher
Franz Liszt
veronikagummel.de
Franz Liszt Jahr 2011
Veronika Gummel: Weimars VIPs reloaded
Weimar has seen it all. Goethe, Schiller, Wieland, Herder, Bach, Feininger, all these VIPs of the art world lived here or visited the town. Theses celebrities influenced the city that is home to culture.
Since 1999 Veronika Gummel helps to immortalise these famous german personalities. She creates little monuments that portait them with the tounge in the cheek. Each is unique some even limited editions. The figurienes are made of wood and papier mâché.
Martin Luther, Liszt, Bach, Beethoven and many more followed suit last year.
In 1999 Weimar has been the cultural capital of Europe. A travelling titel designated by the european union. In May 1999 Veronika Gummel opended her own small manufactory.
Classic on the edge
Writers Block, wrestling the blank page, the inner voice is suddenly mute - no inspiration. Get one of our fine art VIPs. Let them guide you until the muse visites you.
Invite one of the important members of the German Weimarer classic in your home and have him sit on your book shelf or on your mantelpiece, let him accompany and inspire you with literature and poems.
It is a great souvenir from Weimar, a sophisticated gift for literature lovers, collectors of wooden handcrafted art or people who like to give very personal presents.
Shelf sitters are little handmade wooden figurines, hand-milled and hand-painted with lots of love to detail. Their Heads can be turned according to your mood, the hair is either painted or made out of wool.
Material: pine wood
Dimensions: 4,3 inch high
Paint: acrylic paint and signed by the artist
Sticker on the bottom of the figurine with the important facts of the person
Accessoiries: Wooden sofas, couches, armchairs, garden bench in all colours
Veronika Gummel: Weimars Promis reloaded
Weimar steckt an. Goethe, Schiller, Wieland, Herder, Bach, Feininger, sie alle lebten hier oder besuchten Weimar. Sie sind Berühmtheiten, die diese Stadt prägten. Hier ist die Kultur zu Hause.
Seit 1999 setzt Veronika Gummel diesen Persönlichkeiten ein Denkmal. Diese Unikate präsentieren die Kulturpromis mit einem Schmunzeln. Die Figuren sind aus Holz oder Papiermache. Keine gleicht der Anderen.
Luther, Liszt, Bach, Beethoven und viele Andere haben sich dazugesellt. Und jedes Jahr kommen Neue dazu.
9:32
Franz Liszt-Les Preludes
La Orquesta Sinfonica Ciudad de Leon Odon Alonso(Spain) dirigida por Dorel Murgu interpret...
published: 26 Apr 2009
author: ferchunisdrums
Franz Liszt-Les Preludes
La Orquesta Sinfonica Ciudad de Leon Odon Alonso(Spain) dirigida por Dorel Murgu interpreta un fragmento de Los Preludios de Franz Liszt.Esta obra esta inspirada en un poema de A.Lamartine y const...
La Orquesta Sinfonica Ciudad de Leon Odon Alonso(Spain) dirigida por Dorel Murgu interpreta un fragmento de Los Preludios de Franz Liszt.Esta obra esta inspirada en un poema de A.Lamartine y consta de cuatro partes, las dedicadas al amor ,el destino ,el campo y la guerra.En este fragmento estan incluidas las tres ultimas. http://www.orquestaodonalonso.com
Youtube results:
6:15
Franz Liszt La Campanella Jazz Piano Serge Forte Classic live lille
www.cdbaby.com Recorded Live in the "Lille Piano Festival" june 18th 2011 After my experie...
published: 23 Jun 2011
author: Serge Forté
Franz Liszt La Campanella Jazz Piano Serge Forte Classic live lille
www.cdbaby.com Recorded Live in the "Lille Piano Festival" june 18th 2011 After my experiences with Chopin's music with my recording "Jazz'in Chopin" I've tried to put some Liszt music into Jazz
- published: 23 Jun 2011
- views: 1662
- author: Serge Forté
8:55
Franz Liszt: "DIE LORELEY" S.532 (1861), by Vadim Chaimovich
Franz Liszt (1811 - 1886) "Die Loreley", S.532 (1861) Vadim Chaimovich, piano (live perfor...
published: 29 Sep 2009
author: KlassikFan2007
Franz Liszt: "DIE LORELEY" S.532 (1861), by Vadim Chaimovich
Franz Liszt (1811 - 1886) "Die Loreley", S.532 (1861) Vadim Chaimovich, piano (live performance) PS: Please support the artist by purchasing his recordings on CD! For more information please visit the profile. Thank you!
- published: 29 Sep 2009
- views: 34971
- author: KlassikFan2007
4:57
Hamelin plays Liszt - Paganini Etude No. 6 (live) Audio + Sheet
Franz Liszt's virtuoso Paganini Etudes, No. 6 "Theme and Variations". Played live by Marc-...
published: 10 Oct 2011
author: madlovba3
Hamelin plays Liszt - Paganini Etude No. 6 (live) Audio + Sheet
Franz Liszt's virtuoso Paganini Etudes, No. 6 "Theme and Variations". Played live by Marc-André Hamelin.
- published: 10 Oct 2011
- views: 38344
- author: madlovba3
13:34
Luisa Splett plays Franz Liszt: Vallée d'Obermann
Franz Liszt (1811--1886) aus Années de Pèlerinage, La Suisse: Vallée d'Obermann Luisa Sere...
published: 18 Oct 2010
author: dingoandfox
Luisa Splett plays Franz Liszt: Vallée d'Obermann
Franz Liszt (1811--1886) aus Années de Pèlerinage, La Suisse: Vallée d'Obermann Luisa Sereina Splett was born on the 20th of September 1983 in Winterthur, Switzerland. She began playing the piano by imitating children's songs and at the age of five, began formal lessons with Sylvia Näsbom-Thellung. From the beginning, Luisa Splett played in public with great pleasure, as a soloist and chamber musician. With her piano-trio "Da Capo", which was guided by her father, she played in the Jecklin Festival of 1997 in the large hall of the Tonhalle in Zürich. In November of 2009 she performed her graduation concert at the Rimsky-Korsakov State Conservatory in Saint Petersburg, receiving an "excellent" mark. Beside her still increasing concert activity, Luisa Splett is writing her dissertation work, which is focused on the Swiss pianist and composer Emil Frey and his creative efforts in Russia during the early part of the 20th century. "I sincerely enjoy spending my life with what might seem just 88 keys to others. I feel great working out little details for hours and hours, over and over again, until my music gets alive. That's when playing the piano simply seems to be the best thing I've ever done. I want to pass on this joy of music to as many people as I can." Looking for the perfect sound From my earliest childhood music fills my life. What began as a game became my vocation -- music is my life and my life full of music. On my way looking for the perfect sound my path leaded ...
- published: 18 Oct 2010
- views: 8578
- author: dingoandfox
72:44
Franz Liszt- Reminiscences des Huguenots
Franz Liszt (German: [fʁant͡s lɪst]); Hungarian: Liszt Ferencz, in modern use Liszt Ferenc...
published: 21 Jul 2012
author: Thanh Ngoc Nguyen
Franz Liszt- Reminiscences des Huguenots
Franz Liszt (German: [fʁant͡s lɪst]); Hungarian: Liszt Ferencz, in modern use Liszt Ferenc) (Hungarian pronunciation: [list ˈfɛrɛnt͡s]), from 1859 to 1867 officially Franz Ritter von Liszt (October 22, 1811 -- July 31, 1886) was a 19th-century Hungarian..composer, pianist, conductor, and teacher. Played by: Leslie Howard
- published: 21 Jul 2012
- views: 4182
- author: Thanh Ngoc Nguyen
32:56
Franz Liszt - Piano Sonata in B Minor, S. 178 (Piano Solo)
The Piano Sonata in B minor (German: Klaviersonate h-Moll), S.178, is a musical compositio...
published: 14 Aug 2012
author: steven960929
Franz Liszt - Piano Sonata in B Minor, S. 178 (Piano Solo)
The Piano Sonata in B minor (German: Klaviersonate h-Moll), S.178, is a musical composition for solo piano by Franz Liszt, published in 1854 with a dedication to Robert Schumann. It is often considered Liszt's greatest composition for solo piano. The piece has been often analyzed, particularly regarding issues of form. Performed by André Laplante.
- published: 14 Aug 2012
- views: 1757
- author: steven960929
41:28
Franz Liszt - Dante Symphony
Sylvain Cambreling, conductor SWR Sinfonieorchester Baden-Baden Freiburger Domsingknaben 2...
published: 14 Jan 2012
author: kutapika
Franz Liszt - Dante Symphony
Sylvain Cambreling, conductor SWR Sinfonieorchester Baden-Baden Freiburger Domsingknaben 28 January 2011 00:00, 1st mov. 18:45, 2nd mov.
- published: 14 Jan 2012
- views: 11272
- author: kutapika
66:35
PIANO RECITAL - FRANZ LISZT 200th BIRTHDAY ANNIVERSARY (2011) - Alvaro Ordoñez - Piano
PIANO RECITAL FRANZ LISZT 200th BIRTHDAY ANNIVERSARY PROGRAM Franz Liszt (1811-1886): - "N...
published: 11 Feb 2012
author: Alvarordonez
PIANO RECITAL - FRANZ LISZT 200th BIRTHDAY ANNIVERSARY (2011) - Alvaro Ordoñez - Piano
PIANO RECITAL FRANZ LISZT 200th BIRTHDAY ANNIVERSARY PROGRAM Franz Liszt (1811-1886): - "Nuages Gris" Arranged by Álvaro Ordóñez (0: 00:29) - Valse Oubliée N° 3 (0: 04:46) - Hungarian Rhapsody N° 3 (0: 10:40) - Bülow March (0: 15:42) ------------------------------------------ Années de Pèlerinage - Troisième année (Years of pilgrimage - Third Year): (0: 20:41) - Angelus! Priere-aux anges gardiens (Angelus. Prayer to the Guardian Angels) (0: 21:15) - Aux ciprés de la Villa d'Este I (To the Cypresses de la Villa d'Este I: Threnody) (0: 29:11) - Aux ciprés de la Villa d'Este II (To the Cypresses de la Villa d'Este II: Threnody) (0: 34:52) - Les jeux d'eau à la Villa d'Este (The Fountains of the Villa d'Este) (0: 43:19) - Sunt Lacrymae Rerum (en mode hongrois) (There are tears for Thingns (In Hungarian mode)) (0: 49:27) - Marche funèbre (Funeral March) (0: 55:54) - Sursum corda (Lift up Your Hearts) (1 : 02 : 43) Álvaro Ordóñez - Piano Recorded at Sala Beethoven Conservatorio Antonio Maria Valencia Cali -- 2011
- published: 11 Feb 2012
- views: 1039
- author: Alvarordonez
73:55
Franz Liszt - Faust Symphony
Riccardo Muti, conductor Wiener Philharmoniker Michael Schade, tenor Konzertvereinigung Wi...
published: 14 Jan 2012
author: kutapika
Franz Liszt - Faust Symphony
Riccardo Muti, conductor Wiener Philharmoniker Michael Schade, tenor Konzertvereinigung Wiener Staatsopernchor 15 August 2009 00:00, 1st mov. 28:39, 2nd mov. 49:18, 3rd mov.
- published: 14 Jan 2012
- views: 16228
- author: kutapika
68:52
Franz Liszt - 14 Schubert Lieder
Oxana Yablonskaya, piano Franz Liszt - 14 Schubert Lieder Schubert - 12 Lieder, S558/R243:...
published: 14 Nov 2012
author: Wolfgang Amadé Mozart
Franz Liszt - 14 Schubert Lieder
Oxana Yablonskaya, piano Franz Liszt - 14 Schubert Lieder Schubert - 12 Lieder, S558/R243: No. 2. Auf dem Wasser zu singen 00:04:59 Schubert - Winterreise, S561/R246: No. 6. Wasserflut 00:02:30 Schubert - Mullerlieder, S565/R249: No. 2. Der Muller under der Bach 00:07:10 Schubert - Schwanengesang, S560/R245: No. 8. Ihr Bild 00:02:34 Schubert - Schwanengesang, S560/R245: No. 7. Standchen (Leise flehen meine Lieder) 00:07:06 Schubert - 12 Lieder, S558/R243: No. 9. Standchen (Horch, horch! Der Lerch') 00:02:47 Schubert - 12 Lieder, S558/R243: No. 1. Sei mir gegrusset 00:06:06 Schubert - 6 Melodies, S563/R248: No. 4. Trockne Blumen 00:04:15 Schubert - 12 Lieder, S558/R243: No. 7: Fruhlingsglaube 00:05:00 Schubert - 12 Lieder, S558/R243: No. 3. Du bist die Ruh 00:06:08 Schubert - Schwanengesang, S560/R245: No. 12. Der Doppelganger 00:04:41 Schubert - 12 Lieder, S558/R243: No. 8: Gretchen am Spinnrade 00:04:28 Schubert - 12 Lieder, S558/R243: No. 11. Der Wanderer 00:07:16 Schubert - Schwanengesang, S560/R245: No. 3. Aufenthalt 00:03:51
- published: 14 Nov 2012
- views: 639
- author: Wolfgang Amadé Mozart
21:25
Franz Liszt - Klavierkonzert Nr. 2 in A-Dur - Daniel Barenboim
Franz Liszt - Klavierkonzert Nr. 2 in A-Dur - Daniel Barenboim Daniel Barenboim und Pierre...
published: 17 Nov 2011
author: TheBleibtreu
Franz Liszt - Klavierkonzert Nr. 2 in A-Dur - Daniel Barenboim
Franz Liszt - Klavierkonzert Nr. 2 in A-Dur - Daniel Barenboim Daniel Barenboim und Pierre Boulez spielen Liszt Ruhrfestspiele 2011 in Essen Staatskapelle Berlin
- published: 17 Nov 2011
- views: 38131
- author: TheBleibtreu
20:45
Franz Liszt: Piano Concerto #1 E-flat major
Franz Liszt: Concerto for Piano and Orchestra #1 E-flat major Jovianney E. Cruz, piano Phi...
published: 10 Feb 2011
author: isispartners1
Franz Liszt: Piano Concerto #1 E-flat major
Franz Liszt: Concerto for Piano and Orchestra #1 E-flat major Jovianney E. Cruz, piano Philippine Philharmonic Orchestra under the batton of Maestro Ruggero Barbieri
- published: 10 Feb 2011
- views: 7673
- author: isispartners1
33:10
Sonata in B Minor, by Franz Liszt
Sonata in B Minor, by Franz Liszt. Performed by Vadim Monastyrski on February 19, 2012, in...
published: 26 Feb 2012
author: Rodney Leinberger
Sonata in B Minor, by Franz Liszt
Sonata in B Minor, by Franz Liszt. Performed by Vadim Monastyrski on February 19, 2012, in Leshowitz Recital Hall, John J. Cali School of Music, Montclair State University. Recorded and edited by Rodney Leinberger. Camera: Canon XF300; software: Adobe Production Premiere CS5.
- published: 26 Feb 2012
- views: 1088
- author: Rodney Leinberger
55:08
Franz Liszt Anées de Pèlerinage: Première Année - Suisse, Emilio Peroni - piano
Live recording, 5th. November 2011, Rostock, Germany...
published: 08 Feb 2012
author: Tonregisseur
Franz Liszt Anées de Pèlerinage: Première Année - Suisse, Emilio Peroni - piano
Live recording, 5th. November 2011, Rostock, Germany
- published: 08 Feb 2012
- views: 819
- author: Tonregisseur
31:43
Franz Liszt Chamber Orchestra plays Bela Bartok
Janos Rolla, leader - Franz Liszt Chamber Orchestra play Bela Bartok: Music for strings, c...
published: 19 May 2011
author: raniero tazzi
Franz Liszt Chamber Orchestra plays Bela Bartok
Janos Rolla, leader - Franz Liszt Chamber Orchestra play Bela Bartok: Music for strings, celesta and percussion Raniero Tazzi - Studio Art Concert Agency
- published: 19 May 2011
- views: 1453
- author: raniero tazzi
25:03
Franz Liszt ~ Sonata in B Minor ~ Premier recording by Arthur Friedheim ~ Leipzig 1905.
In many ways this is the definitive version of Liszt's B minor Sonata, Recorded in 1905 by...
published: 15 Apr 2012
author: RollaArtis
Franz Liszt ~ Sonata in B Minor ~ Premier recording by Arthur Friedheim ~ Leipzig 1905.
In many ways this is the definitive version of Liszt's B minor Sonata, Recorded in 1905 by Liszt's pupil and secretary Arthur Friedheim, this was the first recording of the complete Sonata, just twenty years after the death of Liszt. It is documented that Liszt himself admired Friedheim's interpretation of this work, so making allowances for the somewhat crude medium of the piano roll, you are hearing more or less what Liszt heard. In order to achieve greater authenticity, this 're-performance' was made on a Bluthner Grand Solophonola (88 note). Liszt's Sonata in B minor is counted as a masterpiece amongst the piano literature of the 19th century. For many years after the death of Liszt, Friedheim 'inherited'' if not 'owned' this work, and it is interesting to compare this forgotten recording to those of the modern era. Although one of the first and most famous gramophone recordings of the Sonata was made by Horowitz, this was in the 1920's when recording technology had advanced considerably. The previous and legendary generation of pianists from the Lisztian 'school' had no such advantage when in their prime some twenty years before in the 1900's when phonograph recordings were regarded as a novelty and of very short duration with considerable acoustic shortcomings. Therefore in the 1900's most pianists preferred the medium of the piano roll and made recordings, including D'Albert and Friedheim both of whom were in this respect prolific recording artists, one would ...
- published: 15 Apr 2012
- views: 1169
- author: RollaArtis
21:27
Franz Liszt - Piano Concerto No.1 in E flat Major - Enzo (RECITAL)
2nd mvt. - 5:55 3rd mvt. - 11:16 4th mvt. - 15:41 (just click) Murphy's Law : "Anything th...
published: 13 Jul 2011
author: Lorenzo Medel
Franz Liszt - Piano Concerto No.1 in E flat Major - Enzo (RECITAL)
2nd mvt. - 5:55 3rd mvt. - 11:16 4th mvt. - 15:41 (just click) Murphy's Law : "Anything that can go wrong will go wrong". And everything went wrong prior to Lorenzo's solo piano recital with the Manila Symphony Orchestra last June 30, 2011 with Jeffrey Solares conducting. 1. The original schedule, June 25 had to be cancelled as Manila suddenly became a lake from terribly heavy rains spawned by a tropical storm. 2. June 30, the new date of the recital started as sunny and bright, but 3 hours before the concert the rains again poured like mad and everywhere there were flash floods, tying up traffic for miles. Almost 1/2 of the audience arrived late despite delaying the start of the program by 30 minutes. 3. Three practice sessions were originally scheduled with the orchestra, but because of the rains and floods during the week of the recital only one short practice of 1 1/2 hours occurred. That is why Enzo and the conductor had to "feel" each other's pulse very well during the recital lest major snafus could happen .... it was really nerve wracking!! 4. And the video-audio!! It has been almost a week of sleepless nights trying to synchronize the different sources of video and audio to no avail. There are some portions where the video seems ahead of the audio and vice-versa. I give up!! for the moment. The consolation? I think Enzo played very well and expressively. The credit equally goes to Jeffrey Solares the conductor who held everything together despite the chaos the ...
- published: 13 Jul 2011
- views: 11385
- author: Lorenzo Medel
28:18
FRANZ LISZT- Fantaisie et fugue "ad nos, ad salutarem undam"
One of my favorites musics! WOW the most crazie music for organ! If you like it as much as...
published: 13 Oct 2011
author: MegaDocalex
FRANZ LISZT- Fantaisie et fugue "ad nos, ad salutarem undam"
One of my favorites musics! WOW the most crazie music for organ! If you like it as much as I, DO KNOW!!!!! :D And for those who want to know, this is not a commercial recording.
- published: 13 Oct 2011
- views: 4875
- author: MegaDocalex
Vimeo results:
8:59
Little Big Berlin
directed by pilpop www.pilpop.de
Diesen wundervollen Film widme ich meiner Stadt Berlin i...
published: 09 Aug 2010
author: pilpop
Little Big Berlin
directed by pilpop www.pilpop.de
Diesen wundervollen Film widme ich meiner Stadt Berlin in der ich seit 19 Jahre lebe. Die Berliner Architektur ist zwar besonders schön, aber erst mit den Berlinern wird Berlin zu so einer einmaligen schönen Stadt wie sie eine ist. Man kann an jedem Eck etwas besonderes entdecken. Und am besten filmt man dies auch gleich. :D
Gefilmt mit meiner geliebten Sony HC9. Geschnitten und bearbeitet mit Sony Vegas Pro 9. Den Miniatur Effekt nennt man Tilt Shift, dessen Ursprung von einem bestimmten Objektiv stammt, mit dem man sonst eher Architektur fotografiert aber dieser Effekt ein Nebenprodukt ist. Digital lässt sich dieser Effekt nachstellen.
Die geniale Musik stammt von "Franz Liszt" mit "Hungarian Rhapsody No.2".
----------------------------------------------------------------------------------------------
I dedicate this film to Berlin where I have been living for 19 years now. While the architecture of Berlin is stunningly beautiful, only its inhabitants make Berlin the unique city that it is. In every corner there is something new to discover. And the best thing to do is to film it.
Filmed with my beloved Sony HC9. Edited with Sony Vegas Pro 9.The miniature effect is called tilt-shift, which originates from a particular lens that was used to photograph architecture. The miniature effect is a by-product of that. It can also be achieved by digital postprocessing.
Music: “Hungarian Rhapsody No. 2” by Franz Liszt
14:51
Franz Liszt - Ballade in b minor nr.2 - Alessio Nanni, piano
The Steinway Artist Alessio Nanni plays the Ballade in b minor nr.2 by Franz Liszt.
This ...
published: 28 May 2011
author: Alessio Nanni
Franz Liszt - Ballade in b minor nr.2 - Alessio Nanni, piano
The Steinway Artist Alessio Nanni plays the Ballade in b minor nr.2 by Franz Liszt.
This piano work unquestionably represents the beauty of darkness in one of Liszt's most intriguing rendering ever.
Unexplainably this Ballade is also one of his great neglected piano work ever.
This piano work is based on a Byzantine myth, 'Hero and Leander', relating the story of Hero, a priestess of Aphrodite who dwelt in a tower in Sestos on the European side of the Dardanelles, and Leander, a young man from Abydos on the opposite side of the strait. Leander fell in love with Hero and would swim every night across the Hellespont to be with her. Hero would light a lamp at the top of her tower to guide his way.
Succumbing to Leander's soft words, and to his argument that Aphrodite, as goddess of love, would scorn the worship of a virgin, Hero allowed him to make love to her. This routine lasted through the warm summer. But one stormy winter night, the waves tossed Leander in the sea and the breezes blew out Hero's light, and Leander lost his way, and was drowned. Hero threw herself from the tower in grief and died as well.
Liszt's ending definitely is not a tragic one, though. There is certainly a storm at the end as the soaring waves of the Hellespont and the love duet commingle, but one way or another they make it out of the storm.
__________________________________________________________
Recorded on may 1st 2011 at Passadori Steinway Hall - Brescia
Produced in collaboration with passadoripianoforti.it.
Video release date : 6/6/2011
IMPORTANT NOTICE:
We suggest to wait until the video is fully downloaded before start watching.
Switching from Flash Player to HTML5 player is strongly recommended in order to avoid any frame-drop.
Please fullscreen it.
Produced by © WHITE NOISE FACTORY
Piano technician: Giulio Passadori
Logistic supervisor: Flavio Gheruzzi
Piano: Steinway & Sons, Concert Grand mod. D
Recorded in super high definition: 96khz/24 bit technology.
Special thanks to: Simona Passadori.
© by Alessio Nanni - All Rights Reserved
alessionanni.com
0:17
Franz Liszt
veronikagummel.de
Franz Liszt Jahr 2011
Veronika Gummel: Weimars VIPs reloaded
Weimar h...
published: 24 Jun 2011
author: Schmittchen Schleicher
Franz Liszt
veronikagummel.de
Franz Liszt Jahr 2011
Veronika Gummel: Weimars VIPs reloaded
Weimar has seen it all. Goethe, Schiller, Wieland, Herder, Bach, Feininger, all these VIPs of the art world lived here or visited the town. Theses celebrities influenced the city that is home to culture.
Since 1999 Veronika Gummel helps to immortalise these famous german personalities. She creates little monuments that portait them with the tounge in the cheek. Each is unique some even limited editions. The figurienes are made of wood and papier mâché.
Martin Luther, Liszt, Bach, Beethoven and many more followed suit last year.
In 1999 Weimar has been the cultural capital of Europe. A travelling titel designated by the european union. In May 1999 Veronika Gummel opended her own small manufactory.
Classic on the edge
Writers Block, wrestling the blank page, the inner voice is suddenly mute - no inspiration. Get one of our fine art VIPs. Let them guide you until the muse visites you.
Invite one of the important members of the German Weimarer classic in your home and have him sit on your book shelf or on your mantelpiece, let him accompany and inspire you with literature and poems.
It is a great souvenir from Weimar, a sophisticated gift for literature lovers, collectors of wooden handcrafted art or people who like to give very personal presents.
Shelf sitters are little handmade wooden figurines, hand-milled and hand-painted with lots of love to detail. Their Heads can be turned according to your mood, the hair is either painted or made out of wool.
Material: pine wood
Dimensions: 4,3 inch high
Paint: acrylic paint and signed by the artist
Sticker on the bottom of the figurine with the important facts of the person
Accessoiries: Wooden sofas, couches, armchairs, garden bench in all colours
Veronika Gummel: Weimars Promis reloaded
Weimar steckt an. Goethe, Schiller, Wieland, Herder, Bach, Feininger, sie alle lebten hier oder besuchten Weimar. Sie sind Berühmtheiten, die diese Stadt prägten. Hier ist die Kultur zu Hause.
Seit 1999 setzt Veronika Gummel diesen Persönlichkeiten ein Denkmal. Diese Unikate präsentieren die Kulturpromis mit einem Schmunzeln. Die Figuren sind aus Holz oder Papiermache. Keine gleicht der Anderen.
Luther, Liszt, Bach, Beethoven und viele Andere haben sich dazugesellt. Und jedes Jahr kommen Neue dazu.
9:32
Franz Liszt-Les Preludes
La Orquesta Sinfonica Ciudad de Leon Odon Alonso(Spain) dirigida por Dorel Murgu interpret...
published: 26 Apr 2009
author: ferchunisdrums
Franz Liszt-Les Preludes
La Orquesta Sinfonica Ciudad de Leon Odon Alonso(Spain) dirigida por Dorel Murgu interpreta un fragmento de Los Preludios de Franz Liszt.Esta obra esta inspirada en un poema de A.Lamartine y const...
La Orquesta Sinfonica Ciudad de Leon Odon Alonso(Spain) dirigida por Dorel Murgu interpreta un fragmento de Los Preludios de Franz Liszt.Esta obra esta inspirada en un poema de A.Lamartine y consta de cuatro partes, las dedicadas al amor ,el destino ,el campo y la guerra.En este fragmento estan incluidas las tres ultimas. http://www.orquestaodonalonso.com
Youtube results:
23:31
Ilya Kondratiev plays Franz Liszt: Piano Concerto No. 2 - Piano Competition Finale
Ton-Aufnahme/Audio-Recording: MDR FIGARO 23 year old Ilya Kondratiev plays Franz Liszts 2n...
published: 02 Nov 2011
author: hfmFRANZLISZTweimar
Ilya Kondratiev plays Franz Liszt: Piano Concerto No. 2 - Piano Competition Finale
Ton-Aufnahme/Audio-Recording: MDR FIGARO 23 year old Ilya Kondratiev plays Franz Liszts 2nd Piano Concerto for the Finale of the 7th International Franz Liszt Piano Competition at the CCN Weimarhalle on October 30th, 2011. For more information on the competition www.hfm-weimar.de
- published: 02 Nov 2011
- views: 1666
- author: hfmFRANZLISZTweimar
29:59
Franz Liszt Sonata Tanski Music Autograph Facsimile b minor h moll si mineur
Franz Liszt (1811-1886) Piano Sonata b minor , Claudius TANSKI STEINWAY D ANNO 1901 (recor...
published: 10 Oct 2011
author: tanskiclaudius
Franz Liszt Sonata Tanski Music Autograph Facsimile b minor h moll si mineur
Franz Liszt (1811-1886) Piano Sonata b minor , Claudius TANSKI STEINWAY D ANNO 1901 (recording by MDG www.amazon.com ) I would like to thank from all of my heart : Dr. Wolf-Dieter Seiffert, Director Henle Edition, Munich, Germany, and Olav Rossbach, Henle Edition, for giving kind permission and organising contacts ! - www.henle.de - publisher of the Facsimile, still available in a wonderful Edition ! : www.henle.de Mr. Robert Owen Lehman, NY, USA - the Owner of the Autograph and - for a Pianist - the Owner of one of the greatest imaginable Treasures in Music ! and Dr. Frances Barulich, Curator of The Morgan Library & Museum, NY, for giving the kind permission of making this YT Video possible! www.youtube.com And thank you, my dear collegue Luca De Grazia from Lugano, Switzerland, for doing all the Video work with great patience! One of my secret wishes in Music became true with the following Mail : Dear Mr. Tanski, In reference to your letter of 11 March 2011, Mr. Lehman has given his permission for you to use the Henle facsimile edition of the manuscript of Liszt's B-minor Sonata (the original manuscript of which is owned Mr. Lehman) on your YouTube presentation, understanding that Henle has also agreed. Yours truly, Frances Barulich Mary Flagler Cary Curator of Music Manuscripts and Printed Music The Morgan Library & Museum 225 Madison Avenue New York, New York 10016 tel: 212 590-0368 email: fbarulich@themorgan.org www.amazon.com // Forthcoming MASTERCLASSES : Summer ...
- published: 10 Oct 2011
- views: 4448
- author: tanskiclaudius
28:59
Michael Collins and the Franz Liszt Chamber Orchestra play Mozart
Michael Collins, clarinet - Janos Rolla, leader - Franz Liszt Chamber Orchestra play Wolfg...
published: 19 May 2011
author: raniero tazzi
Michael Collins and the Franz Liszt Chamber Orchestra play Mozart
Michael Collins, clarinet - Janos Rolla, leader - Franz Liszt Chamber Orchestra play Wolfgang Amadeus Mozart: Clarinet Concerto K. 622 Raniero Tazzi - Studio Art Concert Agency
- published: 19 May 2011
- views: 2337
- author: raniero tazzi
22:04
Jenö Jando "Wanderer-Fantasie after Schubert" Franz Liszt
Wanderer-Fantasie for Piano and Orchestra after Schubert by Franz Liszt (1811-1886) Jenö J...
published: 08 Jan 2011
author: gioiellidellamusica
Jenö Jando "Wanderer-Fantasie after Schubert" Franz Liszt
Wanderer-Fantasie for Piano and Orchestra after Schubert by Franz Liszt (1811-1886) Jenö Jando, piano Budapest Symphony Orchestra Andras Ligeti, conductor
- published: 08 Jan 2011
- views: 3395
- author: gioiellidellamusica
5:50
Franz Liszt - Liebestraum - Love Dream
Franz Liszt - Liebestraum - Love Dream...
published: 24 Oct 2008
author: TheWickedNorth
Franz Liszt - Liebestraum - Love Dream
Franz Liszt - Liebestraum - Love Dream
- published: 24 Oct 2008
- views: 2404593
- author: TheWickedNorth
10:32
Franz Liszt - Hungarian Rhapsody No.2 (Orchestra version)
Franz Liszt Hungarian Rhapsody No. 2 in C- Sharp Minor Franz Liszt, 1811-1886. Regarded as...
published: 15 Nov 2007
author: 0OoFACUoO0
Franz Liszt - Hungarian Rhapsody No.2 (Orchestra version)
Franz Liszt Hungarian Rhapsody No. 2 in C- Sharp Minor Franz Liszt, 1811-1886. Regarded as the greatest pianist of all time, Listz's genius extended far beyond the piano to expand musical composition and performance well beyond its 19th century limitations.
- published: 15 Nov 2007
- views: 3379429
- author: 0OoFACUoO0
10:32
Franz Liszt - Hungarian Rhapsody no.2 (The Perfect Version)
Found this piece in my PC and decided to upload it. I don't know who is the piano player, ...
published: 09 Dec 2009
author: jazzkosova
Franz Liszt - Hungarian Rhapsody no.2 (The Perfect Version)
Found this piece in my PC and decided to upload it. I don't know who is the piano player, but he/she plays the rhapsody very good.
- published: 09 Dec 2009
- views: 504963
- author: jazzkosova
72:44
Franz Liszt- Reminiscences des Huguenots
Franz Liszt (German: [fʁant͡s lɪst]); Hungarian: Liszt Ferencz, in modern use Liszt Ferenc...
published: 21 Jul 2012
author: Thanh Ngoc Nguyen
Franz Liszt- Reminiscences des Huguenots
Franz Liszt (German: [fʁant͡s lɪst]); Hungarian: Liszt Ferencz, in modern use Liszt Ferenc) (Hungarian pronunciation: [list ˈfɛrɛnt͡s]), from 1859 to 1867 officially Franz Ritter von Liszt (October 22, 1811 -- July 31, 1886) was a 19th-century Hungarian..composer, pianist, conductor, and teacher. Played by: Leslie Howard
- published: 21 Jul 2012
- views: 5839
- author: Thanh Ngoc Nguyen
16:34
Franz Liszt - Les préludes
Happy 200th Birthday to Franz Liszt! Franz Liszt (October 22, 1811 -- July 31, 1886) was a...
published: 22 Oct 2011
author: Fledermaus1990
Franz Liszt - Les préludes
Happy 200th Birthday to Franz Liszt! Franz Liszt (October 22, 1811 -- July 31, 1886) was a 19th-century Hungarian composer, pianist, conductor, and teacher. Liszt became renowned throughout Europe during the nineteenth century for his virtuosic skill as a pianist. He was said by his contemporaries to have been the most technically advanced pianist of his age and perhaps the greatest pianist of all time. Les préludes. Les préludes is the third of Franz Liszt's thirteen symphonic poems. Directed by Liszt himself, in April 1856 the score, and in January 1865 the orchestral parts, were published by Breitkopf & Härtel, Leipzig. Among Liszt's symphonic poems, Les préludes is the most popular. Conductor: Michel Plasson Orchestra: Dresdner Philharmonie
- published: 22 Oct 2011
- views: 16727
- author: Fledermaus1990
41:28
Franz Liszt - Dante Symphony
Sylvain Cambreling, conductor SWR Sinfonieorchester Baden-Baden Freiburger Domsingknaben 2...
published: 14 Jan 2012
author: kutapika
Franz Liszt - Dante Symphony
Sylvain Cambreling, conductor SWR Sinfonieorchester Baden-Baden Freiburger Domsingknaben 28 January 2011 00:00, 1st mov. 18:45, 2nd mov.
- published: 14 Jan 2012
- views: 12321
- author: kutapika
9:59
Maksim Mrvica playing Franz Liszt's Hungarian Rhapsody No. 2
MY NEW BLOG: mattburrowspiano.blogspot.com FOLLOW ME ON TWITTER: twitter.com OTHER ACCOUNT...
published: 31 Aug 2006
author: Mattyb2001uk
Maksim Mrvica playing Franz Liszt's Hungarian Rhapsody No. 2
MY NEW BLOG: mattburrowspiano.blogspot.com FOLLOW ME ON TWITTER: twitter.com OTHER ACCOUNT: http For scores and more please visit www.maksimmrvica.com This was recorded live at the Roundhouse London.
- published: 31 Aug 2006
- views: 2833048
- author: Mattyb2001uk
5:18
Franz Liszt - Un Sospiro (by Marc-André Hamelin)
The image quality is not very good, but this is one of the best performances of this piece...
published: 20 Jun 2006
author: carlosq
Franz Liszt - Un Sospiro (by Marc-André Hamelin)
The image quality is not very good, but this is one of the best performances of this piece I ever heard. Worth watching.
- published: 20 Jun 2006
- views: 694979
- author: carlosq
11:41
Liszt - Mephisto Waltz No. 1, S. 514 [André Laplante]
Der Tanz in der Dorfschenke, S514, R181, "Mephisto Waltz No. 1" (1859--62) This is the sol...
published: 03 Jun 2011
author: musicanth
Liszt - Mephisto Waltz No. 1, S. 514 [André Laplante]
Der Tanz in der Dorfschenke, S514, R181, "Mephisto Waltz No. 1" (1859--62) This is the solo piano version of the famous first Mephisto Waltz by Hungarian composer Franz Liszt (1811-1886), performed here by the excellent Canadian pianist André Laplante. The work was inspired by an episode from "Faust" by Nikolaus Lenau: "There is a wedding feast in progress in the village inn, with music, dancing, carousing. Mephistopheles and Faust pass by, and Mephistopheles induces Faust to enter and take part in the festivities. Mephistopheles snatches the fiddle from the hands of a lethargic fiddler and draws from it indescribably seductive and intoxicating strains. The amorous Faust whirls about with a full-blooded village beauty in a wild dance; they waltz in mad abandon out of the room, into the open, away into the woods. The sounds of the fiddle grow softer and softer, and the nightingale warbles his love-laden song."
- published: 03 Jun 2011
- views: 100031
- author: musicanth
5:27
Franz Liszt: Liebestraum cello and piano
Cellist Seeli Toivio and her brother, pianist Kalle Toivio perform Franz Liszt (1811-1886)...
published: 24 Jan 2009
author: Seeli Toivio
Franz Liszt: Liebestraum cello and piano
Cellist Seeli Toivio and her brother, pianist Kalle Toivio perform Franz Liszt (1811-1886) "Liebestraum" at Festival Servais 2007. Halle Basilica, Belgium, June 6, 2007. Festival Concert: Bicentennial Commemoration of the Belgian cello virtuoso Adrien François Servais (1807-1866). Servais Society WEBSITE: www.servais-vzw.org
- published: 24 Jan 2009
- views: 1006003
- author: Seeli Toivio
9:03
How are Justin Bieber, Franz Liszt and Jerusalem Connected? | Idea Channel | PBS
At first glance, Pop Wunderkind Justin Bieber aka "The Biebs" and revolutionary 19th Centu...
published: 17 Oct 2012
author: pbsideachannel
How are Justin Bieber, Franz Liszt and Jerusalem Connected? | Idea Channel | PBS
At first glance, Pop Wunderkind Justin Bieber aka "The Biebs" and revolutionary 19th Century pianist and composer Franz Liszt don't seem to have anything in common. And while they might not have any musical or biographical similarities, they both have had a powerful psychological effect on their fans. Fits of hysteria, screaming, and fainting are all common traits of "Bieber Fever" & "Lisztomania." But why? What is it that will cause a person to be so tremendously moved by a performer, a piece of art, a cityscape or even, heck, light refracting off of bits of water in the sky? Watch the episode and find out!!! Let us know what sorts of crazy ideas you have, about this episode and otherwise: Tweet at us! @pbsideachannel (yes, the longest twitter username ever) Email us! pbsideachannel [at] gmail [dot] com Hosted by Mike Rugnetta (@mikerugnetta) Made by Kornhaber Brown (www.kornhaberbrown.com) MUSIC Roglok: vimeo.com Savant - Ode To Joy soundcloud.com Chiptune - Kenzalol soundcloud.com Level 5: Room for the Homeless www.jamendo.com Want some more Idea Channel? Here's Last Week's episode: "Can Dungeons and Dragons Make You A Confident & Successful Person?" youtu.be Want another one? Here ya go: "Is Doctor Who a Religion?" youtu.be You want more? Check this one out: "What Do MP3s and Magic Spells Have In Common?" youtu.be
- published: 17 Oct 2012
- views: 60273
- author: pbsideachannel
15:56
Franz Liszt - Les préludes, symphonic poem No.3, S.97
Les préludes (from Alphonse de Lamartine), symphonic poem No.3, S.97. Author: Franz Liszt ...
published: 29 Jun 2011
author: IlaryRhineKlange
Franz Liszt - Les préludes, symphonic poem No.3, S.97
Les préludes (from Alphonse de Lamartine), symphonic poem No.3, S.97. Author: Franz Liszt (1811-1886). Conductor: Daniel Barenboim & Chicago Symphony Orchestra
- published: 29 Jun 2011
- views: 39639
- author: IlaryRhineKlange
4:40
Liszt: Liebestraum No. 3, Notturno (Barenboim)
Daniel Barenboim plays the famous Liebestraume by Franz Liszt....
published: 26 May 2009
author: Pianoplayer002
Liszt: Liebestraum No. 3, Notturno (Barenboim)
Daniel Barenboim plays the famous Liebestraume by Franz Liszt.
- published: 26 May 2009
- views: 264411
- author: Pianoplayer002
Vimeo results:
8:59
Little Big Berlin
directed by pilpop www.pilpop.de
Diesen wundervollen Film widme ich meiner Stadt Berlin i...
published: 09 Aug 2010
author: pilpop
Little Big Berlin
directed by pilpop www.pilpop.de
Diesen wundervollen Film widme ich meiner Stadt Berlin in der ich seit 19 Jahre lebe. Die Berliner Architektur ist zwar besonders schön, aber erst mit den Berlinern wird Berlin zu so einer einmaligen schönen Stadt wie sie eine ist. Man kann an jedem Eck etwas besonderes entdecken. Und am besten filmt man dies auch gleich. :D
Gefilmt mit meiner geliebten Sony HC9. Geschnitten und bearbeitet mit Sony Vegas Pro 9. Den Miniatur Effekt nennt man Tilt Shift, dessen Ursprung von einem bestimmten Objektiv stammt, mit dem man sonst eher Architektur fotografiert aber dieser Effekt ein Nebenprodukt ist. Digital lässt sich dieser Effekt nachstellen.
Die geniale Musik stammt von "Franz Liszt" mit "Hungarian Rhapsody No.2".
----------------------------------------------------------------------------------------------
I dedicate this film to Berlin where I have been living for 19 years now. While the architecture of Berlin is stunningly beautiful, only its inhabitants make Berlin the unique city that it is. In every corner there is something new to discover. And the best thing to do is to film it.
Filmed with my beloved Sony HC9. Edited with Sony Vegas Pro 9.The miniature effect is called tilt-shift, which originates from a particular lens that was used to photograph architecture. The miniature effect is a by-product of that. It can also be achieved by digital postprocessing.
Music: “Hungarian Rhapsody No. 2” by Franz Liszt
14:51
Franz Liszt - Ballade in b minor nr.2 - Alessio Nanni, piano
The Steinway Artist Alessio Nanni plays the Ballade in b minor nr.2 by Franz Liszt.
This ...
published: 28 May 2011
author: Alessio Nanni
Franz Liszt - Ballade in b minor nr.2 - Alessio Nanni, piano
The Steinway Artist Alessio Nanni plays the Ballade in b minor nr.2 by Franz Liszt.
This piano work unquestionably represents the beauty of darkness in one of Liszt's most intriguing rendering ever.
Unexplainably this Ballade is also one of his great neglected piano work ever.
This piano work is based on a Byzantine myth, 'Hero and Leander', relating the story of Hero, a priestess of Aphrodite who dwelt in a tower in Sestos on the European side of the Dardanelles, and Leander, a young man from Abydos on the opposite side of the strait. Leander fell in love with Hero and would swim every night across the Hellespont to be with her. Hero would light a lamp at the top of her tower to guide his way.
Succumbing to Leander's soft words, and to his argument that Aphrodite, as goddess of love, would scorn the worship of a virgin, Hero allowed him to make love to her. This routine lasted through the warm summer. But one stormy winter night, the waves tossed Leander in the sea and the breezes blew out Hero's light, and Leander lost his way, and was drowned. Hero threw herself from the tower in grief and died as well.
Liszt's ending definitely is not a tragic one, though. There is certainly a storm at the end as the soaring waves of the Hellespont and the love duet commingle, but one way or another they make it out of the storm.
__________________________________________________________
Recorded on may 1st 2011 at Passadori Steinway Hall - Brescia
Produced in collaboration with passadoripianoforti.it.
Video release date : 6/6/2011
IMPORTANT NOTICE:
We suggest to wait until the video is fully downloaded before start watching.
Switching from Flash Player to HTML5 player is strongly recommended in order to avoid any frame-drop.
Please fullscreen it.
Produced by © WHITE NOISE FACTORY
Piano technician: Giulio Passadori
Logistic supervisor: Flavio Gheruzzi
Piano: Steinway & Sons, Concert Grand mod. D
Recorded in super high definition: 96khz/24 bit technology.
Special thanks to: Simona Passadori.
© by Alessio Nanni - All Rights Reserved
alessionanni.com
0:17
Franz Liszt
veronikagummel.de
Franz Liszt Jahr 2011
Veronika Gummel: Weimars VIPs reloaded
Weimar h...
published: 24 Jun 2011
author: Schmittchen Schleicher
Franz Liszt
veronikagummel.de
Franz Liszt Jahr 2011
Veronika Gummel: Weimars VIPs reloaded
Weimar has seen it all. Goethe, Schiller, Wieland, Herder, Bach, Feininger, all these VIPs of the art world lived here or visited the town. Theses celebrities influenced the city that is home to culture.
Since 1999 Veronika Gummel helps to immortalise these famous german personalities. She creates little monuments that portait them with the tounge in the cheek. Each is unique some even limited editions. The figurienes are made of wood and papier mâché.
Martin Luther, Liszt, Bach, Beethoven and many more followed suit last year.
In 1999 Weimar has been the cultural capital of Europe. A travelling titel designated by the european union. In May 1999 Veronika Gummel opended her own small manufactory.
Classic on the edge
Writers Block, wrestling the blank page, the inner voice is suddenly mute - no inspiration. Get one of our fine art VIPs. Let them guide you until the muse visites you.
Invite one of the important members of the German Weimarer classic in your home and have him sit on your book shelf or on your mantelpiece, let him accompany and inspire you with literature and poems.
It is a great souvenir from Weimar, a sophisticated gift for literature lovers, collectors of wooden handcrafted art or people who like to give very personal presents.
Shelf sitters are little handmade wooden figurines, hand-milled and hand-painted with lots of love to detail. Their Heads can be turned according to your mood, the hair is either painted or made out of wool.
Material: pine wood
Dimensions: 4,3 inch high
Paint: acrylic paint and signed by the artist
Sticker on the bottom of the figurine with the important facts of the person
Accessoiries: Wooden sofas, couches, armchairs, garden bench in all colours
Veronika Gummel: Weimars Promis reloaded
Weimar steckt an. Goethe, Schiller, Wieland, Herder, Bach, Feininger, sie alle lebten hier oder besuchten Weimar. Sie sind Berühmtheiten, die diese Stadt prägten. Hier ist die Kultur zu Hause.
Seit 1999 setzt Veronika Gummel diesen Persönlichkeiten ein Denkmal. Diese Unikate präsentieren die Kulturpromis mit einem Schmunzeln. Die Figuren sind aus Holz oder Papiermache. Keine gleicht der Anderen.
Luther, Liszt, Bach, Beethoven und viele Andere haben sich dazugesellt. Und jedes Jahr kommen Neue dazu.
9:32
Franz Liszt-Les Preludes
La Orquesta Sinfonica Ciudad de Leon Odon Alonso(Spain) dirigida por Dorel Murgu interpret...
published: 26 Apr 2009
author: ferchunisdrums
Franz Liszt-Les Preludes
La Orquesta Sinfonica Ciudad de Leon Odon Alonso(Spain) dirigida por Dorel Murgu interpreta un fragmento de Los Preludios de Franz Liszt.Esta obra esta inspirada en un poema de A.Lamartine y const...
La Orquesta Sinfonica Ciudad de Leon Odon Alonso(Spain) dirigida por Dorel Murgu interpreta un fragmento de Los Preludios de Franz Liszt.Esta obra esta inspirada en un poema de A.Lamartine y consta de cuatro partes, las dedicadas al amor ,el destino ,el campo y la guerra.En este fragmento estan incluidas las tres ultimas. http://www.orquestaodonalonso.com
Youtube results:
4:56
Franz Liszt - Liebestraum
Pictures from Olden, Norway Music: Franz Liszt - Liebestraum...
published: 01 Nov 2009
author: betttyblue
Franz Liszt - Liebestraum
Pictures from Olden, Norway Music: Franz Liszt - Liebestraum
- published: 01 Nov 2009
- views: 44744
- author: betttyblue
9:20
Franz Liszt Hungarian Rhapsody No. 2 - Josef Bulva
Josef Bulva performs Hungarian Rhapsody no.2 by Franz Liszt.......
published: 15 Jun 2008
author: oHsNaP1337
Franz Liszt Hungarian Rhapsody No. 2 - Josef Bulva
Josef Bulva performs Hungarian Rhapsody no.2 by Franz Liszt....
- published: 15 Jun 2008
- views: 412203
- author: oHsNaP1337
73:55
Franz Liszt - Faust Symphony
Riccardo Muti, conductor Wiener Philharmoniker Michael Schade, tenor Konzertvereinigung Wi...
published: 14 Jan 2012
author: kutapika
Franz Liszt - Faust Symphony
Riccardo Muti, conductor Wiener Philharmoniker Michael Schade, tenor Konzertvereinigung Wiener Staatsopernchor 15 August 2009 00:00, 1st mov. 28:39, 2nd mov. 49:18, 3rd mov.
- published: 14 Jan 2012
- views: 16885
- author: kutapika
7:29
Dinu Lipatti, Franz Liszt, Gnomenreigen, La Leggierezza
Rare recording of two études de concert of Franz Liszt by Dinu Lipatti. Gnomereigen is in ...
published: 13 Oct 2008
author: GiovanniEMB
Dinu Lipatti, Franz Liszt, Gnomenreigen, La Leggierezza
Rare recording of two études de concert of Franz Liszt by Dinu Lipatti. Gnomereigen is in a set (1941) of Test Recordings Bucharest including Brahms's Intermezzo op. 116 no 2, Bach, Chorale "Jesus bleibet meine Freude", Scarlatti's Sonata Longo 387, Chopin's Etude op. 10 n. 5, Schumann's Sympinic Etude op. 13 N. 9 and this Gnomenreigen. Second recording (London, 1947) is a copy of a studio BBC Recording. This copy of "La Leggierezza" is not complete (missing the first two bars).
- published: 13 Oct 2008
- views: 21385
- author: GiovanniEMB
photo: AP / Anis Belghoul
22 Jan 2013
Article by WN.com Correspondent Dallas Darling. When then-Vice President Dick Cheney stated. "If there's a 1% chance that Pakistani scientists are helping al-Qaeda build or develop a nuclear weapon, we have to treat it as a certainty in terms of our response. It's not about our analysis...it's about our response,"(1) it was clearly evident that the "war on terror" had been lost ... And when Zacarias Moussaoui shouted. "America you lost ... 11....(size: 9.1Kb)
photo: AP / Echorouk Elyaoumi
21 Jan 2013
Algerian security forces on Sunday made grisly discoveries of dozens of bodies at a sprawling natural gas facility, a day after a violent showdown put an end to an international hostage crisis. But as Algeria tallied up the losses, a debate was emerging about whether the militant group linked to al-Qaida that seized the plant had been intent on a massacre or whether it had simply been after money ... ....(size: 2.9Kb)
photo: UN / JC McIlwaine
23 Jan 2013
United Nations - On Tuesday the UN Security Council unanimously condemned North Korea's December rocket launch and expanded existing UN sanctions, eliciting a vow from Pyongyang to boost the North's military and nuclear capabilities. While the resolution approved by the 15-nation council does not impose new sanctions on Pyongyang, diplomats said Beijing's support for it was a significant diplomatic blow to Pyongyang ... Blacklisted ... >. > ... >....(size: 27.5Kb)
photo: AP / Patric Schneider
23 Jan 2013
HOUSTON (Reuters) - Three people were wounded, one critically, on Tuesday when gunfire erupted during an altercation between two people on a community college campus near Houston, police said, the latest in a series of shootings on U.S. college and school campuses. Two people "of interest" in the Lone Star College shooting were detained for questioning, including one with a student identification, according to authorities....(size: 3.7Kb)
photo: WN / Imran Nissar
23 Jan 2013
NEW DELHI ' An Indian government panel recommended on Wednesday the strict enforcement of sexual assault laws, a commitment for speedy rape trials and changes to the country’s antiquated penal code to protect women in the wake of a fatal gang rape in New Delhi last month ... The suggestions included banning a traumatic vaginal exam of rape victims to ending political interference in sex crime cases ... Verma, who headed the panel ... . ....(size: 5.1Kb)
The Examiner
23 Jan 2013
Alkan was known as one of the greatest pianists of his day, which is saying something since those were the days of both Frédéric Chopin (three years Alkan’s senior) and Franz Liszt (born on October 22, 1811) ... Stylistically he pursued the same lofty ambitions as Liszt, perhaps even aiming higher ... Alkan’s connection to Liszt may be appreciated because ......(size: 8.5Kb)
Chicago Tribune
21 Jan 2013
That it also proved our last significant observance of the 2011 bicentennial for Franz Liszt was icing on the cake ... Liszt created about 60 of them ... But Liszt was not alone in creating such pieces ... And from Lortie's majestic "Tannhauser" Overture one finally could understand how Wagner told Liszt he found the transcription "like a wonderful dream come ......(size: 3.0Kb)
Kansas City Star
21 Jan 2013
Four Franz Liszt songs followed the “Rigoletto.” Some were Schubert-esque, but with Wagnerian tonality, and others had signature Liszt enthusiasms such as tarantella or clouds of trills. The Liszt demonstrated Fabiano’s control of his material ... Two Richard Strauss songs, one short and one very short, followed the Liszt and were ......(size: 2.5Kb)
The Washington Post
21 Jan 2013
Daniil Trifonov looks like Franz Liszt, or like a 19th-century caricature of Liszt ... He also sounds like Liszt. We can’t actually know what Liszt sounded like, but we do know he was a virtuoso, and he mesmerized his listeners, and people found something distinctive and other-worldly and spiritual about him ... 2 in G-sharp Minor, Liszt’s big, dark Sonata in B Minor and the 24 Chopin Preludes....(size: 5.1Kb)
MSNBC
18 Jan 2013
Enter Franz Liszt ... There was also a huge market for these transcriptions by Liszt and others ... He was back the next year, playing Liszt's complete "Années de Pèlerinage" over two concerts, about two hours and 10 minutes of music (again from memory) ... Lortie has saved the two most dazzling pieces -- the Liszt-Mozart "Réminiscences de Don Juan" (the only ......(size: 8.3Kb)
noodls
17 Jan 2013
(Source. Stephen F Austin State University) Distinguished pianist to perform at SFA. January 17, 2013 - Robbie Goodrich. NACOGDOCHES, TEXAS - The Stephen F ... Sergio H ... Monday, Jan ... As an adjudicator and clinician, Ruiz has judged piano competitions and festivals in Texas and California and has given concerts and master classes at the Franz Liszt Conservatory in Quito, Ecuador ... distributed by ... (noodl....(size: 2.2Kb)
Deutsche Welle
16 Jan 2013
Von Schwind was tasked with painting the restored Wartburg Castle beginning in 1854, and had the idea of immortalizing famous figures such as Goethe, Schiller, Lither, Liszt and indeed Wagner in his depiction of the key scene from the Minstrels' Contest ... Franz Liszt, composer, pianist, conductor and father of Wagner's second wife, Cosima, had a hand in the design and excellent acoustics of the hall....(size: 6.9Kb)
Jakarta Globe
15 Jan 2013
At first sight, Janice Carissa Kurniawan looks like a regular teenager ... “That always made me happy.” ... “So, I am excited, but in a good way.”. She has chosen pieces from Johann Sebastian Bach, Wolfgang Amadeus Mozart, Frederic Chopin, Franz Liszt, Sergei Rachmaninoff, Nikolai Kapustin, Carl Vine and Jaya Suprana for her debut — a colorful mix of classical music from baroque to contemporary ... “But I think I like Franz Liszt the most....(size: 6.2Kb)
noodls
15 Jan 2013
(Source. Pittsburg State University) PSU faculty make Carnegie Hall debut. January 15, 2013 2.23PM. When Patrick Howle and Reena Berger Natenberg perform at Carnegie Hall next week, they'll be returning to a familiar theme ... on Tuesday, Jan ... In addition, they selected a set of vocal works by Johannes Brahms, a solo piano piece by Franz Liszt and another solo piece by contemporary French Canadian composer Denis Gougeon ... distributed by....(size: 3.1Kb)
Kansas City Star
12 Jan 2013
Jan. 19. Fabiano, 28, has been racking up some of the biggest awards in opera ... Fabiano has chosen a variety of music for his American recital debut, including songs by Verdi, Franz Liszt, Giacomo Puccini, Jules Massenet and Henri Duparc ... WHEN. 8 p.m ... One standout is Franz Liszt’s transcription of the overture to “Tannhäuser,” a thunderous tour de force that rivals the orchestral version for chills down the spine....(size: 10.3Kb)
Ohio
09 Jan 2013
WOOSTER, Ohio — Cleveland-based pianist Frank Huang will present a solo piano recital on Saturday, Feb. 2, at The College of Wooster ... . The program will consist of Franz Joseph Haydn’s Sonata in Eb Major, Hob ... 119; Franz Liszt’s arrangement of “Isolde’s Liebestod” from Richard Wagner’s opera, Tristan und Isolde; and Modest Mussorgsky’s Pictures at an Exhibition ... ....(size: 1.9Kb)
The Guardian
09 Jan 2013
Bloomberg
09 Jan 2013
Switzerland’s 437-year-old Wolfsberg castle has welcomed the likes of Alexandre Dumas and Franz Liszt. In September, UBS AG (UBSN) Chief Executive Officer Sergio Ermotti gathered the bank’s top executives there for dinner ... More from the February 2013 issue of Bloomberg Markets.. UBS had been under pressure since losing more than $57 billion during the financial crisis. So had its main competitor, Credit Suisse Group AG ... 30 announcement ... ....(size: 19.6Kb)
"Liszt" redirects here. For other persons with the name, see Liszt (surname).
Franz Liszt (German: [fʁant͡s lɪst]); Hungarian: Liszt Ferencz, in modern use Liszt Ferenc)[1] (October 22, 1811 – July 31, 1886) was a 19th-century Hungarian[2][3][4] composer, pianist, conductor, and teacher.
Liszt became renowned in Europe during the nineteenth century for his virtuosic skill as a pianist. He was said by his contemporaries to have been the most technically advanced pianist of his age. In the 1840s he was considered by some to be perhaps the greatest pianist of all time.[5] He was also a well-known composer, piano teacher, and conductor. He was a benefactor to other composers, including Richard Wagner, Hector Berlioz, Camille Saint-Saëns, Edvard Grieg and Alexander Borodin.[6]
As a composer, Liszt was one of the most prominent representatives of the "Neudeutsche Schule" ("New German School"). He left behind an extensive and diverse body of work in which he influenced his forward-looking contemporaries and anticipated some 20th-century ideas and trends. Some of his most notable contributions were the invention of the symphonic poem, developing the concept of thematic transformation as part of his experiments in musical form and making radical departures in harmony.[7] He also played an important role in popularizing a wide array of music by transcribing it for piano.
Contents |
Life[link]
Main article: Life of Franz Liszt
File:Anna Liszt.jpg
Marie Anna Lager
Early life[link]
The earliest known ancestor of Liszt is his great-grandfather, Sebastian List, who was one of the thousands of German migrant serfs locally migrating within the Austrian Empire's territories (around the area now constituting Lower Austria and Hungary) in the first half of the 18th century. Sebastian was a cotter ("Söllner"), said to be born in Rajka, Moson County, Kingdom of Hungary, around 1703, where he died on January 7, 1793.[8][9] Liszt's grandfather was an overseer on several Esterházy estates; he could play the piano, violin and organ.[10] The Liszt clan dispersed throughout Austria and Hungary and gradually lost touch with one another.[11]
Franz Liszt was born to Marie Anna Lager and Ádám Liszt on October 22, 1811, in the village of Doborján (German: Raiding) in Sopron County, in the Kingdom of Hungary.[note 1] His father would use only the Hungarian language when dealing, as steward, with the folk of the village in which the family settled.[12]
Liszt's father played the piano, violin, cello, and guitar. He had been in the service of Prince Nikolaus II Esterházy and knew Haydn, Hummel and Beethoven personally. At age six, Franz began listening attentively to his father's piano playing and showed an interest in both sacred and Romani music. Adam began teaching him the piano at age seven, and Franz began composing in an elementary manner when he was eight. He appeared in concerts at Sopron and Pozsony (German: Pressburg; present-day Bratislava, Slovakia) in October and November 1820 at age 9. After the concerts, a group of wealthy sponsors offered to finance Franz's musical education abroad.
In Vienna, Liszt received piano lessons from Carl Czerny, who in his own youth had been a student of Beethoven and Hummel. He also received lessons in composition from Antonio Salieri, who was then music director of the Viennese court. His public debut in Vienna on December 1, 1822, at a concert at the "Landständischer Saal," was a great success. He was greeted in Austrian and Hungarian aristocratic circles and also met Beethoven and Schubert.[13] In spring 1823, when the one-year leave of absence came to an end, Adam Liszt asked Prince Esterházy in vain for two more years. Adam Liszt therefore took his leave of the Prince's services. At the end of April 1823, the family returned to Hungary for the last time. At end of May 1823, the family went to Vienna again.
Towards the end of 1823 or early 1824, Liszt's first published composition appeared in print, a Variation on a Waltz by Diabelli (now S. 147), which was Variation 24 in Part II of Vaterländischer Künstlerverein. This anthology, commissioned by Diabelli, included 50 variations on his waltz by 50 different composers (Part II), Part I being taken up by Beethoven's 33 variations on the same theme, which are now better known as the Diabelli Variations, Op. 120.
Adolescence in Paris[link]
After his father's death, Liszt moved to Paris; for the next five years he was to live with his mother in a small apartment. He gave up touring. To earn money, Liszt gave lessons in piano playing and composition, often from early morning until late at night. His students were scattered across the city and he often had to cover long distances. Because of this, he kept uncertain hours and also took up smoking and drinking—all habits he would continue throughout his life.[14][15]
The following year he fell in love with one of his pupils, Caroline de Saint-Cricq, the daughter of Charles X's minister of commerce. However, her father insisted that the affair be broken off. Liszt fell very ill, to the extent that an obituary notice was printed in a Paris newspaper, and he underwent a long period of religious doubts and pessimism. He again stated a wish to join the Church but was dissuaded this time by his mother. He had many discussions with the Abbé de Lamennais, who acted as his spiritual father, and also with Chrétien Urhan, a German-born violinist who introduced him to the Saint-Simonists.[14] Urhan also wrote music that was anti-classical and highly subjective, with titles such as Elle et moi, La Salvation angélique and Les Regrets, and may have whetted the young Liszt's taste for musical romanticism. Equally important for Liszt was Urhan's earnest championship of Schubert, which may have stimulated his own lifelong devotion to that composer's music.[16]
During this period, Liszt read widely to overcome his lack of a general education, and he soon came into contact with many of the leading authors and artists of his day, including Victor Hugo, Alphonse de Lamartine and Heinrich Heine. He composed practically nothing in these years. Nevertheless, the July Revolution of 1830 inspired him to sketch a Revolutionary Symphony based on the events of the "three glorious days," and he took a greater interest in events surrounding him. He met Hector Berlioz on December 4, 1830, the day before the premiere of the Symphonie fantastique. Berlioz's music made a strong impression on Liszt, especially later when he was writing for orchestra. He also inherited from Berlioz the diabolic quality of many of his works.[14]
Paganini[link]
After attending an April 20, 1832, concert for charity, for the victims of a Parisian cholera epidemic, by Niccolò Paganini,[17] Liszt became determined to become as great a virtuoso on the piano as Paganini was on the violin. Paris in the 1830s had become the nexus for pianistic activities, with dozens of pianists dedicated to perfection at the keyboard. Some, such as Sigismond Thalberg and Alexander Dreyschock, focused on specific aspects of technique (e.g. the "three-hand effect" and octaves, respectively). While it was called the "flying trapeze" school of piano playing, this generation also solved some of the most intractable problems of piano technique, raising the general level of performance to previously unimagined heights. Liszt's strength and ability to stand out in this company was in mastering all the aspects of piano technique cultivated singly and assiduously by his rivals.[18]
In 1833 he made transcriptions of several works by Berlioz, including the Symphonie fantastique. His chief motive in doing so, especially with the Symphonie, was to help the poverty-stricken Berlioz, whose symphony remained unknown and unpublished. Liszt bore the expense of publishing the transcription himself and played it many times to help popularise the original score.[19] He was also forming a friendship with a third composer who influenced him, Frédéric Chopin; under his influence Liszt's poetic and romantic side began to develop.[14]
With Countess Marie d'Agoult[link]
In 1833, Liszt began his relationship with the Countess Marie d'Agoult. In addition to this, at the end of April 1834 he made the acquaintance of Felicité de Lamennais. Under the influence of both, Liszt's creative output exploded. In 1834 Liszt debuted as a mature and original composer with his piano compositions Harmonies poétiques et religieuses and the set of three Apparitions. These were all poetic works which contrasted strongly with the fantasies he had written earlier.[20]
In 1835 the countess left her husband and family to join Liszt in Geneva; their daughter Blandine was born there on December 18. Liszt taught at the newly founded Geneva Conservatory, wrote a manual of piano technique (later lost)[21] and contributed essays for the Paris Revue et gazette musicale. In these essays, he argued for the raising of the artist from the status of a servant to a respected member of the community.[14]
For the next four years, Liszt and the countess lived together, mainly in Switzerland and Italy, where their daughter, Cosima, was born in Como, with occasional visits to Paris. On May 9, 1839, Liszt's and the countess's only son, Daniel, was born, but that autumn relations between them became strained. Liszt heard that plans for a Beethoven monument in Bonn were in danger of collapse for lack of funds, and pledged his support. Doing so meant returning to the life of a touring virtuoso. The countess returned to Paris with the children, while Liszt gave six concerts in Vienna, then toured Hungary.[14]
Touring Europe[link]
For the next eight years Liszt continued to tour Europe, spending holidays with the countess and their children on the island of Nonnenwerth on the Rhine in summers 1841 and 1843. In spring 1844 the couple finally separated. This was Liszt's most brilliant period as a concert pianist. Honours were showered on him and he was adulated everywhere he went.[14] Since Liszt often appeared three or four times a week in concert, it could be safe to assume that he appeared in public well over a thousand times during this eight-year period. Moreover, his great fame as a pianist, which he would continue to enjoy long after he had officially retired from the concert stage, was based mainly on his accomplishments during this time.[22]
After 1842, "Lisztomania" swept across Europe. The reception Liszt enjoyed as a result can be described only as hysterical. Women fought over his silk handkerchiefs and velvet gloves, which they ripped to shreds as souvenirs. Helping fuel this atmosphere was the artist's mesmeric personality and stage presence. Many witnesses later testified that Liszt's playing raised the mood of audiences to a level of mystical ecstasy.[23]
Adding to his reputation was the fact that Liszt gave away much of his proceeds to charity and humanitarian causes. In fact, Liszt had made so much money by his mid-forties that virtually all his performing fees after 1857 went to charity. While his work for the Beethoven monument and the Hungarian National School of Music are well known, he also gave generously to the building fund of Cologne Cathedral, the establishment of a Gymnasium at Dortmund, and the construction of the Leopold Church in Pest. There were also private donations to hospitals, schools and charitable organizations such as the Leipzig Musicians Pension Fund. When he found out about the Great Fire of Hamburg, which raged for three weeks during May 1842 and destroyed much of the city, he gave concerts in aid of the thousands of homeless there.[24]
Liszt in Weimar[link]
In February 1847, Liszt played in Kiev. There he met the Princess Carolyne zu Sayn-Wittgenstein, who was to become one of the most significant people in the rest of his life. She persuaded him to concentrate on composition, which meant giving up his career as a travelling virtuoso. After a tour of the Balkans, Turkey and Russia that summer, Liszt gave his final concert for pay at Elisavetgrad in September. He spent the winter with the princess at her estate in Woronince.[25] By retiring from the concert platform at 35, while still at the height of his powers, Liszt succeeded in keeping the legend of his playing untarnished.[26]
The following year, Liszt took up a long-standing invitation of Grand Duchess Maria Pavlovna of Russia to settle at Weimar, where he had been appointed Kapellmeister Extraordinaire in 1842, remaining there until 1861. During this period he acted as conductor at court concerts and on special occasions at the theatre. He gave lessons to a number of pianists, including the great virtuoso Hans von Bülow, who married Liszt's daughter Cosima in 1857 (years later, she would marry Richard Wagner). He also wrote articles championing Berlioz and Wagner. Finally, Liszt had ample time to compose and during the next 12 years revised or produced those orchestral and choral pieces upon which his reputation as a composer mainly rests. His efforts on behalf of Wagner, who was then an exile in Switzerland, culminated in the first performance of Lohengrin in 1850.
Princess Carolyne lived with Liszt during his years in Weimar. She eventually wished to marry Liszt, but since she had been previously married and her husband, Russian military officer Prince Nikolaus zu Sayn-Wittgenstein-Ludwigsburg (1812–1864), was still alive, she had to convince the Roman Catholic authorities that her marriage to him had been invalid. After huge efforts and a monstrously intricate process, she was temporarily successful (September 1860). It was planned that the couple would marry in Rome, on October 22, 1861, Liszt's 50th birthday. Liszt having arrived in Rome on October 21, 1861, the Princess nevertheless declined, by the late evening, to marry him. It appears that both her husband and the Tsar of Russia had managed to quash permission for the marriage at the Vatican. The Russian government also impounded her several estates in the Polish Ukraine, which made her later marriage to anybody unfeasible.[27]
Liszt in Rome[link]
The 1860s were a period of great sadness in Liszt's private life. On December 13, 1859, he lost his son Daniel, and on September 11, 1862, his daughter Blandine also died. In letters to friends, Liszt afterwards announced that he would retreat to a solitary living. He found it at the monastery Madonna del Rosario, just outside Rome, where on June 20, 1863, he took up quarters in a small, Spartan apartment. He had on June 23, 1857, already joined a Franciscan order.[28]
On April 25, 1865, he received the tonsure at the hands of Cardinal Hohenlohe. Following this he was sometimes called the Abbé Liszt. On July 31, 1865 he received the four minor orders of porter, lector, exorcist, and acolyte. On August 14, 1879, he was made an honorary canon of Albano.[27]
On some occasions, Liszt took part in Rome's musical life. On March 26, 1863, at a concert at the Palazzo Altieri, he directed a programme of sacred music. The "Seligkeiten" of his "Christus-Oratorio" and his "Cantico del Sol di Francesco d'Assisi", as well as Haydn's "Die Schöpfung" and works by J. S. Bach, Beethoven, Jommelli, Mendelssohn and Palestrina were performed. On January 4, 1866, Liszt directed the "Stabat mater" of his "Christus-Oratorio", and on February 26, 1866, his "Dante Symphony". There were several further occasions of similar kind, but in comparison with the duration of Liszt's stay in Rome, they were exceptions. Bódog Pichler, who visited Liszt in 1864 and asked him for his future plans, had the impression that Rome's musical life was not satisfying for Liszt.[citation needed]
Threefold life[link]
Liszt was invited back to Weimar in 1869 to give master classes in piano playing. Two years later he was asked to do the same in Budapest at the Hungarian Music Academy. From then until the end of his life he made regular journeys between Rome, Weimar and Budapest, continuing what he called his "vie trifurquée" or threefold existence. It is estimated that Liszt travelled at least 4,000 miles a year during this period in his life—an exceptional figure given his advancing age and the rigors of road and rail in the 1870s.[29]
Last years[link]
Liszt fell down the stairs of the Hotel in Weimar on July 2, 1881. Though friends and colleagues had noted swelling in his feet and legs when he had arrived in Weimar the previous month (an indication of possible congestive heart failure), he had been in good health up to that point and was still fit and active. He was left immobilized for eight weeks after the accident and never fully recovered from it. A number of ailments manifested—dropsy, asthma, insomnia, a cataract of the left eye and heart disease. The last-mentioned eventually contributed to Liszt's death. He became increasingly plagued by feelings of desolation, despair and preoccupation with death—feelings which he expressed in his works from this period. As he told Lina Ramann, "I carry a deep sadness of the heart which must now and then break out in sound."[30]
He died in Bayreuth, Germany, on July 31, 1886, at age 74, officially as a result of pneumonia, which he may have contracted during the Bayreuth Festival hosted by his daughter Cosima. Questions have been posed as to whether medical malpractice played a part in his death.[31] He was buried on August 3, 1886, in the municipal cemetery of Bayreuth in accordance with his wishes.[32]
Composer Camille Saint-Saëns, an old friend, whom Liszt had once called "the greatest organist in the world", dedicated his Symphony No. 3 "Organ Symphony" to Liszt; it had premiered in London only a few weeks before his death.
Liszt as pianist[link]
Performing style[link]
There are few, if any, good sources that give an impression of how Liszt really sounded from the 1820s. Carl Czerny claimed Liszt was a natural who played according to feeling, and reviews of his concerts especially praise the brilliance, strength and precision in his playing. At least one also mentions his ability to keep absolute tempo,[33] which may be due to his father's insistence that he practice with a metronome.[citation needed] His repertoire at this time consisted primarily of pieces in the style of the brilliant Viennese school, such as concertos by Hummel and works by his former teacher Czerny, and his concerts often included a chance for the boy to display his prowess in improvisation.
Following the death of Liszt's father in 1827 and his hiatus from the life as a touring virtuoso, it is likely Liszt's playing gradually developed a more personal style. One of the most detailed descriptions of his playing from this time comes from the winter of 1831/1832, during which he was earning a living primarily as a teacher in Paris. Among his pupils was Valerie Boissier, whose mother Caroline kept a careful diary of the lessons. From her we learn that:
"M. Liszt's playing contains abandonment, a liberated feeling, but even when it becomes impetuous and energetic in his fortissimo, it is still without harshness and dryness. [...] [He] draws from the piano tones that are purer, mellower and stronger than anyone has been able to do; his touch has an indescribable charm. [...] He is the enemy of affected, stilted, contorted expressions. Most of all, he wants truth in musical sentiment, and so he makes a psychological study of his emotions to convey them as they are. Thus, a strong expression is often followed by a sense of fatigue and dejection, a kind of coldness, because this is the way nature works."
Possibly influenced by Paganini's showmanship, once Liszt began focusing on his career as a pianist again, his emotionally vivid presentations of the music were rarely limited to mere sound. His facial expression and gestures at the piano would reflect what he played, for which he was sometimes mocked in the press.[37] Also noted were the extravagant liberties he could take with the text of a score at this time. Berlioz tells us how Liszt would add cadenzas, tremolos and trills when playing the first movement of Beethoven's Moonlight Sonata, and created a dramatic scene by changing the tempo between Largo and Presto.[38] In his Baccalaureus letter to George Sand from the beginning of 1837, Liszt admitted that he had done so for the purpose of gaining applause, and promised to follow both the letter and the spirit of a score from then on. It has been debated to what extent he realized his promise, however. By July 1840 the British newspaper The Times could still report
"His performance commenced with Händel's Fugue in E minor, which was played by Liszt with an avoidance of everything approaching to meretricious ornament, and indeed scarcely any additions, except a multitude of ingeniously contrived and appropriate harmonies, casting a glow of colour over the beauties of the composition, and infusing into it a spirit which from no other hand it ever received."
Repertoire[link]
During his years as a travelling virtuoso, Liszt performed an enormous amount of music throughout Europe,[39] but his core repertoire always centered around his own compositions, paraphrases and transcriptions. Of Liszt's German concerts between 1840 and 1845, the five most frequently played pieces were the Grand galop chromatique, Schubert's Erlkönig (in Liszt's transcription), Réminiscences de Don Juan, Réminiscences de Robert le Diable, and Réminiscences de Lucia de Lammermoor.[40] Among the works by other composers we find compositions like Weber's Invitation to the Dance, Chopin mazurkas, études by composers like Ignaz Moscheles, Chopin and Ferdinand Hiller, but also major works by Beethoven, Schumann, Weber and Hummel, and from time to time even selections from Bach, Handel and Scarlatti.
Most of the concerts at this time were shared with other artists, and as a result Liszt also often accompanied singers, participated in chamber music, or performed works with an orchestra in addition to his own solo part. Frequently played works include Weber's Konzertstück, Beethoven's Emperor Concerto and Choral Fantasy, and Liszt's reworking of the Hexameron for piano and orchestra. His chamber music repertoire included Hummel's Septet, Beethoven's Archduke Trio and Kreutzer Sonata, and a large selection of songs by composers like Rossini, Donizetti, Beethoven and especially Schubert. At some concerts, Liszt could not find musicians to share the program with, and consequently was among the first to give solo piano recitals in the modern sense of the word. The term was coined by the publisher Frederick Beale, who suggested it for Liszt's concert at the Hanover Square Rooms in London on June 9, 1840,[41] even though Liszt had given concerts all by himself already by March 1839.[42]
Musical works[link]
Main article: Musical works of Franz Liszt
See also: List of compositions by Franz Liszt (S.1–S.350) and List of compositions by Franz Liszt (S.351–S.999)
Liszt was a prolific composer. His composition career has a clear arch that follows his changing professional and personal life.[citation needed] Liszt is best known for his piano music, but he wrote extensively for many media. Because of his background as a technical piano virtuoso, Liszt's piano works are often marked by their difficulty. Liszt is very well known as a programmatic composer, or an individual who bases his compositional ideas in extra-musical things such as a poetry or painting. Liszt is credited with the creation of the Symphonic Poem which is a programmatic orchestral work that generally consists of a single movement.
Liszt's compositional style delved deeply into issues of unity both within and across movements. For this reason, in his most famous and virtuosic works, he is an 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.
Piano music[link]
The largest and best-known portion of Liszt's music is his original piano work. His thoroughly revised masterwork, "Années de pèlerinage" ("Years of Pilgrimage") includes arguably his most provocative and stirring pieces. This set of three suites ranges from the virtuosity of the Suisse Orage (Storm) to the subtle and imaginative visualizations of artworks by Michelangelo 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 di 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, and the level of technical difficulty which was present in much of his composition.
Liszt's piano works are usually divided into two categories. On the one hand, there are "original works", and on the other hand "transcriptions", "paraphrases" or "fantasies" on works by other composers. Examples for the first category are works such as the piece Harmonies poétiques et religieuses of May 1833 and the Piano Sonata in B minor (1853). Liszt's transcriptions of Schubert songs, his fantasies on operatic melodies, and his piano arrangements of symphonies by Berlioz and Beethoven are examples from the second category. As special case, Liszt also made piano arrangements of his own instrumental and vocal works. Examples of this kind are the arrangement of the second movement "Gretchen" of his Faust Symphony and the first "Mephisto Waltz" as well as the "Liebesträume No. 3" and the two volumes of his "Buch der Lieder".
Transcriptions[link]
Liszt wrote transcriptions for piano of a wide variety of music. He played many of them himself in his celebrated performances. In the mid-19th century, orchestral performances were much less common than they are today, and were not available at all outside major cities, so Liszt's transcriptions played a major role in popularizing a wide array of music such as the symphonies of Beethoven.[43]
When Liszt wrote transcriptions of works by other composers, he invested a lot of creativity in doing so. Instead of just overtaking original melodies and harmonies, he ameliorated them. In the case of his fantasies and transcriptions in the Italian style, composers such as Bellini and Donizetti knew that certain forms, usually periods of eight measures, were to be filled with music. Occasionally, while the first half of a period was composed with inspiration, the second half was added with mechanical routine. Liszt changed this by modifying the melody, bass and occasionally the harmonies.
Liszt's transcriptions yielded results that were often more inventive than what Liszt or the original composer could have achieved alone. Some notable examples are the Sonnambula-fantasy (Bellini), the Rigoletto-Paraphrase (Verdi), the Faust-Walzer (Gounod), and Réminiscences de Don Juan (Mozart). Hans von Bülow admitted that Liszt's transcription of his Dante Sonett "Tanto gentile" was much more refined than the original he himself had composed.[44] Liszt's transcriptions of Schubert songs, his fantasies on operatic melodies, and his piano arrangements of symphonies by Berlioz and Beethoven are other well-known examples of piano transcriptions.[citation needed]
Organ music[link]
Liszt wrote his two largest organ works between 1850 and 1855 while he was living in Weimar, a city with a long tradition of organ music, most notably that of J.S. Bach. Humphrey Searle calls these works – Ad nos, ad salutarem undam and the Prelude and Fugue on B-A-C-H – Liszts's "only important original organ works",[45] and Derek Watson, writing in his 1989 Liszt, considered them among the most significant organ works of the nineteenth century, heralding the work of such key organist-musicians as Reger, Franck, and Saint-Saens, among others.[46] Ad nos is an extended fantasia, Adagio, and fugue, lasting over half an hour, and the Prelude and Fugue on B-A-C-H includes chromatic writing which sometimes removes the sense of tonality. Liszt also wrote some smaller organ works, including a prelude (1854) and set of variations on the first section of movement 2 chorus from Bach's cantata Weinen, Klagen, Sorgen, Zagen, BWV 12 (which Bach later reworked as the Crucifixus in the Mass in B minor), which he composed after the death of his daughter in 1862. [47] He also wrote a Requiem for organ solo, intended to be performed liturgically, along with the spoken Requiem Mass.[48]
Original songs[link]
Franz Liszt composed about six dozen original songs with piano accompaniment. In most cases the lyrics were in German or French, but there are also some songs in Italian and Hungarian and one song in English. Liszt began with the song "Angiolin dal biondo crin" in 1839, and by 1844 had composed about two dozen songs. Some of them had been published as single pieces. In addition, there was an 1843–1844 series "Buch der Lieder". The series had been projected for three volumes, consisting of six songs each, but only two volumes appeared.
Today, Liszt's songs are relatively obscure. As an exception, most frequently the song "Ich möchte hingehen" is cited. It is because of a single bar, most resembling the opening motif of Wagner's Tristan und Isolde. While it is commonly claimed that Liszt wrote that motif ten years before Wagner started work on his masterpiece,[49] it has turned out that this is not true: the original version of "Ich möchte hingehn" was composed in 1844 or 1845. There are four manuscripts, and only a single one, a copy by August Conradi, contains the said bar with the Tristan motif. It is on a paste-over in Liszt's hand. Since in the second half of 1858 Liszt was preparing his songs for publication, and he just at that time received the first act of Wagner's Tristan, it is most likely that the version on the paste-over was a quotation from Wagner.[50] This is not to say the motif was originally invented by Wagner. An earlier example can be found in bar 100 of Liszt's Ballade No. 2 in B minor for piano, composed in 1853.[51]
Programme music[link]
Liszt, in some of his works, supported the relatively new idea of programme music – that is, music intended to evoke extra-musical ideas such as a depiction of a landscape, a poem, a particular character or personage. (By contrast, absolute music stands for itself and is intended to be appreciated without any particular reference to the outside world.)
Liszt's own point of view regarding programme music can for the time of his youth be taken from the preface of the Album d'un voyageur (1837). According to this, a landscape could evoke a certain kind of mood. Since a piece of music could also evoke a mood, a mysterious resemblance with the landscape could be imagined. In this sense the music would not paint the landscape, but it would match the landscape in a third category, the mood.
In July 1854 Liszt stated in his essay about Berlioz and Harold in Italy that not all music was programme music. If, in the heat of a debate, a person would go so far as to claim the contrary, it would be better to put all ideas of programme music aside. But it would be possible to take means like harmony, modulation, rhythm, instrumentation and others to let a musical motif endure a fate. In any case, a programme should be added to a piece of music only if it was necessarily needed for an adequate understanding of that piece.
Still later, in a letter to Marie d'Agoult of November 15, 1864, Liszt wrote:
- "Without any reserve I completely subscribe to the rule of which you so kindly want to remind me, that those musical works which are in a general sense following a programme must take effect on imagination and emotion, independent of any programme. In other words: All beautiful music must be first rate and always satisfy the absolute rules of music which are not to be violated or prescribed".[52]
Symphonic poems[link]
See also: Symphonic poems (Liszt)
A symphonic poem or tone poem is a piece of orchestral music in one movement in which some extramusical program provides a narrative or illustrative element. This program may come from a poem, a story or novel, a painting, or another source. The term was first applied by Liszt to his 13 one-movement orchestral works in this vein. They were not pure symphonic movements in the classical sense because they dealt with descriptive subjects taken from mythology, Romantic literature, recent history or imaginative fantasy. In other words, these works were programmatic rather than abstract.[53] The form was a direct product of Romanticism which encouraged literary, pictorial and dramatic associations in music. It developed into an important form of program music in the second half of the 19th century.[54]
The first 12 symphonic poems were composed in the decade 1848–58 (though some use material conceived earlier); one other, Von der Wiege bis zum Grabe (From the Cradle to the Grave), followed in 1882. Liszt's intent, according to Hugh MacDonald in the New Grove Dictionary of Music and Musicians (1980), was for these single-movement works "to display the traditional logic of symphonic thought."[55] That logic, embodied in sonata form as musical development, was traditionally the unfolding of latent possibilities in given themes in rhythm, melody and harmony, either in part or in their entirety, as they were allowed to combine, separate and contrast with one another.[56] To the resulting sense of struggle, Beethoven had added an intensity of feeling and the involvement of his audiences in that feeling, beginning from the Eroica Symphony to use the elements of the craft of music—melody, bass, counterpoint, rhythm and harmony—in a new synthesis of elements toward this end.[57]
Liszt attempted in the symphonic poem to extend this revitalization of the nature of musical discourse and add to it the Romantic ideal of reconciling classical formal principles to external literary concepts. To this end, he combined elements of overture and symphony with descriptive elements, approaching symphonic first movements in form and scale.[54] While showing extremely creative amendments to sonata form, Liszt used compositional devices such as cyclic form, motifs and thematic transformation to lend these works added coherence.[58] Their composition proved daunting, requiring a continual process of creative experimentation that included many stages of composition, rehearsal and revision to reach a version where different parts of the musical form seemed balanced.[59]
Late works[link]
See also: Late works of Franz Liszt
With some works from the end of the Weimar years, Liszt drifted more and more away from the musical taste of his time. An early example is the melodrama "Der traurige Mönch" ("The sad monk") after a poem by Nikolaus Lenau, composed in the beginning of October 1860. While in the 19th century harmonies were usually considered as major or minor triads to which dissonances could be added, Liszt took the augmented triad as central chord.
More examples can be found in the third volume of Liszt's Années de Pélerinage. "Les Jeux d'Eaux à la Villa d'Este" ("The Fountains of the Villa d'Este"), composed in September 1877, foreshadows the impressionism of pieces on similar subjects by Debussy and Ravel. However, other pieces such as the "Marche funèbre, En mémoire de Maximilian I, Empereur du Mexique" ("Funeral march, In memory of Maximilian I, Emperor of Mexico")[60] composed in 1867 are without stylistic parallel in the 19th and 20th centuries.
At a later stage, Liszt experimented with "forbidden" things such as parallel 5ths in the "Csárdás macabre"[61] and atonality in the Bagatelle sans tonalité ("Bagatelle without Tonality"). In the last part of his "2de Valse oubliée" ("2nd Forgotten waltz") Liszt composed that he could not find a lyrical melody.[clarification needed] Pieces like the "2nd Mephisto-Waltz" are shocking with nearly endless repetitions of short motives. Also characteristic are the "Via crucis" of 1878, as well as Unstern!, Nuages gris, and the two works entitled La lugubre gondola of the 1880s.
Literary works[link]
Besides his musical works, Liszt wrote essays about many subjects. Most important for an understanding of his development is the article series "De la situation des artistes" ("On the situation of artists") which was published in the Parisian Gazette musicale in 1835. In winter 1835–36, during Liszt's stay in Geneva, about half a dozen further essays followed. One of them that was slated to be published under the pseudonym "Emm Prym" was about Liszt's own works. It was sent to Maurice Schlesinger, editor of the Gazette musicale. Schlesinger, however, following the advice of Berlioz, did not publish it.[62] In the beginning of 1837, Liszt published a review of some piano works of Sigismond Thalberg. The review provoked a huge scandal.[63] Liszt also published a series of writings titled "Baccalaureus letters", ending in 1841.
During the Weimar years, Liszt wrote a series of essays about operas, leading from Gluck to Wagner. Liszt also wrote essays about Berlioz and the symphony Harold in Italy, Robert and Clara Schumann, John Field's nocturnes, songs of Robert Franz, a planned Goethe foundation at Weimar, and other subjects. In addition to essays, Liszt wrote a book about Chopin as well as a book about the Romanis (Gypsies) and their music in Hungary.
While all of those literary works were published under Liszt's name, it is not quite clear which parts of them he had written himself. It is known from his letters that during the time of his youth there had been collaboration with Marie d'Agoult. During the Weimar years it was the Princess Wittgenstein who helped him. In most cases the manuscripts have disappeared so that it is difficult to determine which of Liszt's literary workswere actually works of his own. However, until the end of his life it was Liszt's point of view that it was he who was responsible for the contents of those literary works.
Liszt also worked until at least 1885 on a treatise for modern harmony. Pianist Arthur Friedheim, who also served as Liszt's personal secretary, remembered seeing it among Liszt's papers at Weimar. Liszt told Friedheim that the time was not yet ripe to publish the manuscript, titled Sketches for a Harmony of the Future. Unfortunately, this treatise has been lost.
Liszt also wrote a biography of his friend and fellow composer Frédéric Chopin, "Life of Chopin".[64]
Legacy[link]
Although there was a period in which many considered Liszt's works "flashy" or superficial, it is now held that many of Liszt's compositions such as Nuages gris, Les jeux d'eaux à la villa d'Este, etc., which contain parallel fifths, the whole-tone scale, parallel diminished and augmented triads, and unresolved dissonances, anticipated and influenced twentieth century music like that of Debussy, Ravel and Bartok.[65]
Liszt's students[link]
Early students[link]
Liszt was one of the most noted teachers of the 19th century. This part of his career commenced after his father's death in August 1827. For the purpose of earning his own and his mother's living, Liszt gave lessons in composition and piano playing. According to a letter to Monsieur de Mancy on December 23, 1829, his schedule was so full of lessons that each day, from half-past eight in the morning till 10 at night, he had scarcely breathing time.[66] Most of Liszt's students of this period were amateurs, but there were also some who made a professional career. An example of the first kind is Valérie Boissier, the later Comtesse de Gasparin. Examples of the second kind are Julius Eichberg, Pierre Wolff, and Hermann Cohen. During winter 1835–36 they were Liszt's colleagues at the Conservatoire at Geneva. Wolff then went to Saint Petersburg.
Cohen, who from George Sand received the nickname "Puzzi", developed into a very successful pianist. Of Jewish origin, he was baptized on August 28, 1847. On this day he experienced what he called an "apparition" of Christ, Mary and the saints in an "ecstasy of love". A year later he became novice of a Carmelite convent. When on October 7, 1850, he was professed, he took the name Père Augstin–Marie du Très Saint Sacrament ("Pater Augustin–Mary of the Most Holy Sacrament"). On April 19, 1851, he was ordained as a priest. In spring 1862 he met Liszt in Rome. After colloquies with Pater Augustin, Liszt decided that he would himself become ecclesiastic.[67]
During the years of his tours, Liszt gave only a few lessons. Examples of students from this period are Johann Nepumuk Dunkl and Wilhelm von Lenz. Dunkl received lessons from Liszt during winter 1839–40. He had introduced himself by playing Thalberg's Fantasy Op. 6 on melodies from Meyerbeer's opera "Robert le diable". Liszt later called him a "Halbschüler" ("half-student"). Lenz, from St. Petersburg, had met Liszt already at the end of 1828. In summer 1842 he was in Paris again where he received further lessons from Liszt. He was merely an amateur with a repertoire of pieces such as Chopin's Nocturne Op. 9/2. In spring 1844, in Dresden, Liszt met the young Hans von Bülow, his later son-in-law. Bülow's repertoire included Thalberg's Fantasy "La Donna del Lago" Op. 40 and Liszt's Sonnambula-Fantasy.
Later students[link]
Since Liszt had settled in Weimar, the number of those who received lessons from him was steadily increasing. Until his death in 1886 there would have been several hundred people who in some sense may have been regarded as his students. August Göllerich published a voluminous catalogue of them.[68] In a note he added the remark that he had taken the connotation "student" in its widest sense. As a consequence, his catalogue includes names of pianists, violinists, cellists, harpists, organists, composers, conductors, singers and even writers. Another catalogue was prepared by Carl Lachmund. In Lachmund's catalogue his own wife's name, missing in Göllerich's catalogue, is included. She had successfully persuaded Liszt to listen to her playing the harp. After she had played a single piece, without Liszt's saying a word about it, she was nominated as Liszt's student by her husband.
The following catalogue by Ludwig Nohl, headed with "Die Hauptschüler Liszts" ("Liszt's main students"), was approved in September 1881 and, with regard to the order of the names, corrected, by Liszt.[69]
| Hans von Bülow | Carl Tausig | Franz Bendel | |
| Hans von Bronsart | Karl Klindworth | Alexander Winterberger | |
| Julius Reubke | Theodor Ratzenberger | Robert Pflughaupt | |
| Friedrich Altschul | Nicolaus Neilissoff | Carl Baermann | |
| Dionys Pruckner | Ferdinand Schreiber | Louis Rothfeld | |
| Antal Sipos | Julius Eichberg | Józef Wieniawski | |
| Louis Jungmann | William Mason | Max Pinner | |
| Juliusz Zarębski | Giovanni Sgambati | Carlo Lippi | |
| Siegfried Langgaard | Karl Pohlig | Arthur Friedheim | |
| Louis Marek | Eduard Reuss | Bertrand Roth | |
| Berthold Kellermann | Carl Stasny | Julius Richter | |
| Ingeborg Starck-Bronsart | Sophie Menter-Popper | Sophie Pflughaupt | |
| Aline Hundt | Pauline Fichtner-Erdmannsdörfer | Ahrenda Blume | |
| Anna Mehlig | Vera Timanova | Martha Remmert | |
| Sara Magnus-Heinze | Dora Petersen | Ilonka Ravacz | |
| Cäcilia Gaul | Marie Breidenstein | George Leitert |
In 1886 a similar catalogue would have been much longer, including names such as Eugen d'Albert, Walter Bache, Carl Lachmund, Moriz Rosenthal, Emil Sauer, Alexander Siloti, Conrad Ansorge, William Dayas, August Göllerich, Bernhard Stavenhagen, August Stradal, and István Thomán.
Nohl's catalogue was by far not complete, and this even when the restriction to the period since the Weimar years is neglected. Of Liszt's Hungarian students, for example, only Antal Sipos and Ilonka Ravasz were mentioned. Sipos had become Liszt's student in 1858 in Weimar, after Liszt had heard him playing at a concert and invited him. In 1861 Sipos returned to Budapest, where in 1875 he founded a music school.[70] Ilonka Ravasz was since winter 1875–76 one of Liszt's most gifted students at the newly founded Royal Academy for Music at Budapest. Astonishingly, the names of Aladár Juhász and Károly Aggházy are missing in Nohl's catalogue, although both had been among Liszt's favourite students at the Hungarian Academy.
Also missing are the names of Agnes Street-Klindworth and Olga Janina. Agnes Street-Klindworth had in 1853 arrived in Weimar, where she received lessons in piano playing from Liszt and lessons in composition from Peter Cornelius. Until 1861 she was Liszt's secret mistress.[citation needed] Olga Janina had joined the circle around Liszt in 1869 in Rome. According to Liszt's impression, she had rare and admirable musical talents.[71] In his presence, she performed his piano concertos in E-flat and A Major as well as further examples of his works.
Unfortunately, Olga Janina fell in love with Liszt. They had a short affair, until in spring 1871—on Liszt's initiative—they separated.[citation needed] Olga went to America, but in spring 1873 returned to Budapest. In a telegram to Liszt she had announced that she would kill him. After three adventurous days together with Liszt in an apartment in Budapest she left.[72] Together with Liszt's student Franz Servais she first went to Belgium where she gave concerts which were brilliant successes. She then, together with Servais, went to Italy.
During the 1870s Olga Janina wrote several scandalous books about Liszt, among them the novel Souvenirs d'une Cosaque, published under the pseudonym "Robert Franz". In Göllerich's catalogue of Liszt's students she is registered as "Janina, Olga, Gräfin (Marquise Cezano) (Genf)". Thus she may have changed her name and moved to Geneva. Taking the preface of her Souvenirs d'une Cosaque literally, she had first moved from Italy to Paris where she had lived in poverty. The last paragraph of the preface can be read as a dedication to Liszt.
Besides Liszt's master students there was a crowd of those who could at best reach only moderate abilities.[73] In such cases, Liszt's lessons changed nothing.[74] However, also several of Liszt's master students were disappointed about him.[75] An example is Eugen d'Albert, who in the end was on nearly hostile terms with Liszt.[76] The same must be said of Felix Draeseke who had joined the circle around Liszt at Weimar in 1857, and who during the first half of the 1860s had been one of the most prominent representatives of the New German School. In Nohl's catalogue he is not even mentioned. Also Hans von Bülow, since the 1860s, had more and more drifted towards a direction which was not only different from Liszt's, but opposite to it
According to August Stradal, some of Liszt's master students had claimed that Anton Rubinstein was a better teacher than Liszt.[77] It might have been meant as allusion to Emil Sauer, who had in Moscow studied with Nikolai Rubinstein. During a couple of months in summers 1884 and 1885 he studied with Liszt at Weimar. When he arrived for the first time, he already was a virtuoso of strongest calibre who shortly before had made a concert tour through Spain. The question of whether there was any change in his playing after he had studied with Liszt remains open. According to his autobiography Meine Welt, he had found it imposing when Arthur Friedheim was thundering Liszt's Lucrezia-Fantasy. Regarding Liszt's playing a Beethoven Sonata, however, he wrote, Liszt had at least given a good performance as actor. As his opinion, Sauer had told his fellow students that Anton Rubinstein was a greater composer than Liszt.[78] In Sauer's own compositions, a piano concerto, two sonatas, about two and a half dozen Etudes and several concert pieces, no influence of Liszt as composer of the 1880s can be recognized.
Liszt's teaching approach[link]
Liszt offered his students little technical advice, expecting them to "wash their dirty linen at home," as he phrased it. Instead, he focused on musical interpretation with a combination of anecdote, metaphor and wit. He advised one student tapping out the opening chords of Beethoven's Waldstein Sonata, "Do not chop beefsteak for us." To another who blurred the rhythm in Liszt's Gnomenreigen (usually done by playing the piece too fast in the composer's presence): "There you go, mixing salad again." Liszt also wanted to avoid creating carbon copies of himself; rather, he believed in preserving artistic individuality.[79]
There were some pieces which Liszt famously refused to hear at his masterclasses. Among them were Carl Tausig's transcription of J. S. Bach's organ Toccata and Fugue in D minor, and Chopin's Scherzo No. 2 in B-flat minor. Liszt also did not like to hear his own Polonaise No. 2 in E Major, as it was overplayed and frequently badly played.
Liszt did not charge for lessons. He was troubled when German newspapers published details of pedagogue Theodor Kullak's will, revealing that Kullak had generated more than one million marks from teaching. "As an artist, you do not rake in a million marks without performing some sacrifice on the altar of Art," Liszt told his biographer Lina Ramann. However, Carl Czerny charged an expensive fee for lessons and even dismissed Stephen Heller when he was unable to afford to pay for his lessons. Interestingly, Liszt spoke very fondly of his former teacher, to whom he dedicated his Transcendental Etudes. He wrote the Allgemeine musikalische Zeitung, urging Kullak's sons to create an endowment for needy musicians, as Liszt himself frequently did.[29]
In the summer of 1936, Hungarian-French music critic Emil Haraszti published a two-part essay on Liszt, entitled Liszt á Paris in the publication La Revue musicale. In 1937 he published Deux Franciscians: Adam et Franz Liszt and in December of that year published La Problème Liszt. The essay, which is a deep exploration of the musicality of Liszt, established Haraszti as one of the foremost Liszt scholars of his generation.[80]
Royal Academy of Music at Budapest[link]
Since the early 1860s there were attempts of some of Liszt's Hungarian contemporaries to have him settled with a position in Hungary. In January 1862, in Rome, Liszt received a letter by Baron Gábor Prónay, since 1850 President of a Conservatory in Pest. Baron Prónay offered Liszt the position as President. When in 1867 the Conservatory became "Ungarisches National Konservatorium" ("Hungarian National Conservatory"), Baron Prónay still tried to persuade Liszt to take the leadership.[81] Liszt, however, in letters to Baron Prónay and further ones of his Hungarian contemporaries explained that his career as virtuoso and as conductor had finally ended. If he took a position in Hungary, it would be solely for the purpose of spreading his own compositions, his Oratorios and his symphonic works. Besides, as soon as he left Rome, it was his duty to spend some months of the year in Weimar. The Grand Duc had for several times asked for it.[82]
In 1871 the Hungarian Prime Minister Gyula Andrássy made a new attempt. In a writing of June 4, 1871, to the Hungarian King[83] he demanded an annual rent of 4,000 Gulden and the rank of a "Königlicher Rat" ("Crown Councillor") for Liszt, who in return would permanently settle in Budapest, directing the orchestra of the National Theatre as well as music schools and further musical institutions. With his decision of June 13, 1871, the King agreed.[84] By that time there were also plans of the foundation of a Royal Academy for Music at Budapest, of which the Hungarian state should be in charge. The Royal Academy is not to be confused with the National Conservatory which still existed. The National Conservatory, of which the city Budapest was in charge, was until his death in 1875 directed by Baron Prónay. His successor was Count Géza Zichy.
The plan of the foundation of the Royal Academy was in 1871 refused by the Hungarian Parliament, but a year later the Parliament agreed. Liszt was ordered to take part in the foundation. In March 1875 he was nominated as President. According to his wishes, the Academy should have been opened not earlier than in late autumn 1876. However, the Academy was officially opened already on November 14, 1875. Since it was Liszt's opinion that his colleagues Franz Erkel, the director, Kornél Ábrányi and Robert Volkmann could quite well do this job without him, he was absent. He arrived on February 15, 1876, in Budapest. On March 2 he started giving lessons, and on March 30 he left. The main purpose of his coming to Budapest had been a charity concert on March 20 in favour of the victims of a flood.
In November 1875, 38 students had passed the entrance examinations. 21 of them wanted to study piano playing, the others composition. Details of the entrance examinations are known from an account by Károly Swoboda (Szabados), one of Liszt's first students at the Royal Academy.[85] According to this, candidates for a piano class had to play a single piano piece of their own choice. It could be a sonata movement by Mozart, Clementi or Beethoven. The candidates then had to sight read an easy further piece. Candidates for a composition class had to reproduce and continue a given melody of 4, 5 or 8 bars, after Volkmann had played it for about half a dozen times to them. Besides, they had to put harmonies to a given bass which was written on a table.
After Liszt had arrived, he selected 8 students for his class for advanced piano playing. To these came Áladár Juhász as the most outstanding one. As exception, he was to study piano playing only with Liszt.[86] The others were matriculated as students of Erkel, since it was him from whom they would receive their lessons during Liszt's absence. Erkel also gave lessons in specific matters of Hungarian music. Volkmann gave lessons in composition and instrumentation. Ábrányi gave lessons in music aesthetics and harmony theory. Liszt had wished that there should have been a class for sacral music, led by Franz Xaver Witt. He had also wished that Hans von Bülow should take a position as piano professor. However, neither Witt nor Bülow agreed.
In spite of the conditions under which Liszt had in June 1871 been appointed as "Königlicher Rat", he neither directed the orchestra of the National Theatre, nor did he permanently settle in Hungary.[87] As usual case, he arrived in mid-winter in Budapest. After one or two concerts of his students by the beginning of spring he left. He never took part in the final examinations, which were in summer of every year. Most of his students were still matriculated as students of either Erkel or later Henrik Gobbi. Some of them joined the lessons which he gave in summer in Weimar. In winter, when he was in Budapest, some students of his Weimar circle joined him there.
Judging from the concert programs of Liszt's students at Budapest, the standard resembled that of an advanced masterclass of our days. There was a difference, however, with regard to the repertoire. Most works as played at the concerts were works of composers of the 19th century, and many of the composers are now forgotten. As rare exceptions, occasionally a piece of J. S. Bach or Händel was played. Mozart and Haydn, but also Schubert and Weber, were missing. Of Beethoven only a comparatively small selection of his works was played. In typical cases Liszt himself was merely represented with his transcriptions.
The actual abilities Liszt's students at Budapest and the standard of their playing can only be guessed. Liszt's lessons of winter 1877–78 were in letters to Lina Ramann described by Auguste Rennebaum, herself Liszt's student at the Royal Academy. According to this, there had been some great talents in Liszt's class. However, the abilities of the majority had been very poor.[88] August Stradal, who visited Budapest in 1885 and 1886, took the same point of view.[89] In contrast to this, Deszö Legány claimed, much in Stradal's book was nonsense, taken from Stradal's own fantasy.[90] Legány's own reliability, however, is not beyond doubt since many of his attempts of whitewashing Liszt and—even more—the Hungarian contemporaries are too obvious. Margit Prahács shared and supported Stradal's view. Her quotations from the contemporary Hungarian press show that much of Stradal's critique had been true. Concerning Liszt's relation with his Hungarian contemporaries at the end of his life, for example, in spring 1886 the journal Zenelap wrote:
- "It is solely in Budapest, where musicians are wandering on such high clouds that they hardly take notice when Liszt is among them."[91]
In 1873, at the occasion of Liszt's 50th anniversary as performing artist, the city Budapest had installed a "Franz Liszt Stiftung" ("Franz Liszt Foundation"). The foundation was destined to provide stipends of 200 Gulden for three students of the Academy who had shown excellent abilities and especially had achieved progress with regard to Hungarian music. Every year it was Liszt alone who could decide which one of the students should receive the money. He gave the total sum of 600 Gulden either to a single student or to a group of three or more of them, not asking whether they were actually matriculated at the Academy.
It was also Liszt's habit to declare all students who took part in his lessons as his private students. As consequence, nearly none of them paid any charge at the Academy. Since the Academy needed the money, there was a ministerial order of February 13, 1884, according to which all those who took part in Liszt's lessons had to pay an annual charge of 30 Gulden. However, Liszt did not respect this, and in the end the Minister resigned. In fact, the Academy was still the winner, since Liszt gave much money from his taking part in charity concerts.
The lessons in specific matters of Hungarian music turned out as problematic enterprise, since there were different opinions, exactly what Hungarian music actually was. In 1881 a new edition of Liszt's book about the Romanis and their music in Hungary appeared. According to this, Hungarian music was identical with the music as played by the Hungarian Romanis. Liszt had also claimed, Semitic people, among them the Romanis, had no genuine creativity. For this reason, according to Liszt's book, they only adopted melodies from the country where they lived. After the book had appeared, Liszt was in Budapest accused for a presumed spreading of anti-Semitic ideas.[92] In the following year no students at all wanted to be matriculated for lessons in Hungarian music. According to the issue of July 1, 1886, of the journal Zenelap, this subject at the Hungarian Academy had already a long time ago been dropped.
In 1886 there was still no class for sacral music, but there were classes for solo and chorus singing, piano, violin, cello, organ and composition. The number of students had grown to 91 and the number of professors to 14. Since the winter of 1879–80, the Academy had its own building. On the first floor there was an apartment where since the winter of 1880–81 Liszt lived during his stays in Budapest. His last stay was from January 30 to March 12, 1886. After Liszt's death Janós Végh, since 1881 vice-president, became president. No earlier than 40 years later the Academy was renamed to "Franz Liszt Akademie". Until then, due to world war I, Liszt's Europe and also his Hungary had died. Mainly, the only connection between Franz Liszt and the "Franz Liszt Akademie" was the name.
Liszt School of Music Weimar[link]
On June 24, 1872, the composer and conductor Karl Müller-Hartung founded an "Orchesterschule" ("Orchestra School") at Weimar. Although Liszt and Müller-Hartung were on friendly terms, Liszt took no active part in that foundation. The "Orchesterschule" later developed to a conservatory which still exists and is now called "Hochschule für Musik "Franz Liszt", Weimar".
See also[link]
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Book: Franz Liszt |
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Notes[link]
- ^ Throughout his life he claimed to be Magyar, rather than French or German, and referred to Hungary as his homeland. When later in his life he gave charity concerts in the country, he sometimes appeared wearing national dress. (Walker, Franz Liszt: The Virtuoso Years, 1811–1847, p. 48)
References[link]
- ^ Liszt's Hungarian passport spelled his given name as "Ferencz". An orthographic reform of the Hungarian language in 1922 changed the letter "cz" to simply "c" in all words, except in surnames which led to the use of "Ferenc" a long time after his death. (Hungarian pronunciation: [list ˈfɛrɛnt͡s]), from 1859 to 1867 officially Franz Ritter von Liszt. Franz Liszt was created a Ritter by Emperor Francis Joseph I. in 1859, but never used the title in public. The title was necessary to marry the Princess of Sayn-Wittgenstein without her losing her privileges, but after the marriage fell through, Liszt transferred the title to his uncle Eduard in 1867. Eduard's son was Franz von Liszt.
- ^ Walker, New Grove 2
- ^ "Franz Liszt". Encyclopædia Britannica. 2008. http://www.britannica.com/EBchecked/topic/343394/Franz-Liszt. Retrieved November 24, 2008.
- ^ "Franz Liszt". Columbia Encyclopedia. http://www.encyclopedia.com/doc/1E1-Liszt-Fr.html. Retrieved November 25, 2008.
- ^ An indication of this can be found in: Saffle: Liszt in Germany, p. 209. Regarding the 1840s Saffle wrote, "no one disputed seriously that [Liszt] was the greatest living pianist, probably the greatest pianist of all time." Since Saffle gave no sources, his statement can only be taken as his own point of view.
- ^ Searle, New Grove, 11:29.
- ^ Searle, New Grove, 11:28–29.
- ^ Burgenland Newsletters 99
- ^ Walker, Franz Liszt: The Virtuoso Years, 1811–1847, pp. 33–34
- ^ Walker, Franz Liszt: The Virtuoso Years, 1811–1847, p. 34
- ^ Walker, Franz Liszt: The Virtuoso Years, 1811–1847, p. 35
- ^ Dana Andrew Gooley, The virtuoso Liszt, Volume 13 of New perspectives in music history and criticism, Cambridge University Press, 2004, p.138
- ^ At a second concert on April 13, 1823, Beethoven was reputed to have kissed Liszt on the forehead. While Liszt himself told this story later in life, this incident may have occurred on a different occasion. Regardless, Liszt regarded it as a form of artistic christening. Searle, New Grove, 11:29.
- ^ a b c d e f g Searle, New Grove, 11:30.
- ^ Walker, Virtuoso Years, 131.
- ^ Walker, Virtuoso Years, 137–8.
- ^ The date is known from Liszt's pocket calendar.
- ^ Walker, Virtuoso Years, 161–7.
- ^ Walker, Virtuoso Years, 180.
- ^ Searle, New Grove, 18:30.
- ^ For more details see: Bory: Une retraite romantique, pp. 50ff
- ^ Walker, Virtuoso Years, 285.
- ^ Walker, Virtuoso Years, 289.
- ^ Walker, Virtuoso Years, 290.
- ^ Searle, New Grove, 11:31.
- ^ Walker, Virtuoso Years, 442.
- ^ a b Alan Walker, Liszt, Franz in Oxford Music Online
- ^ See the document in: Burger: Lebenschronik in Bildern, p. 209.
- ^ a b Walker, New Grove 2, 14:781.
- ^ Walker: Final Years.
- ^ Walker: Final Years, p. 508, p. 515 with n. 18).
- ^ LISZT, Derek Watson, p.160
- ^ Review of a concert in Marseilles on April 11, 1826, reprinted in Eckhardt, Maria: Liszt à Marseille, in: Studia Musicologica Academiae Scientarum Hungaricae 24 (1982), p. 165
- ^ After the golden age: romantic pianism and modern performance by Kenneth Hamilton, p. 83, Oxford University Press 2008, ISBN 978-0-19-517826-5
- ^ "Liszt at the Piano" by Edward Swenson, June 2006
- ^ Franz Liszt, am Flügel phantasierend at Stiftung Preußischer Kulturbesitz
- ^ For example, see: Duverger, Franz Liszt, p. 140.
- ^ See Berlioz's essay about Beethoven's Trios and Sonatas, in: Musikalische Streifzüge, transl. Ely Ellès, Leipzig 1912, pp. 52ff
- ^ Comp.: Walker: Virtuoso Years, pp. 445ff
- ^ Comp.: Saffle: Liszt in Germany, pp. 187ff
- ^ Walker: Virtuoso Years, p. 356
- ^ Comp.: Óváry: Ferenc Liszt, p. 147.
- ^ Charles Rosen, The Super Power of Franz Liszt, New York Review of Books, Published 23 February 2012, Accessed 15 February 2012.
- ^ Compare his letter to Louise von Welz of December 13, 1875, in: Bülow, Hans von: Briefe, Band 5, ed. Marie von Bülow, Leipzig 1904, p. 321.
- ^ Searle, 11:46
- ^ Watson, 286
- ^ Alan Walker, Liszt, Franz in Oxford Music Online
- ^ Searle, 11:46
- ^ For example, comp: Raabe: Liszts Schaffen, p. 127, and Walker: Virtuoso Years, p. 408.
- ^ Compare the discussion in: Mueller, Rena Charin: Liszt's "Tasso" Sketchbook: Studies in Sources and Revisions, PhD dissertation, New York University 1986, p. 118ff.
- ^ Still earlier examples from works of Machaut, Gesualdo, Bach, Mozart, Beethoven and Spohr can be found in: Vogel, Martin: Der Tristan-Akkord und die Krise der modernen Harmonie-Lehre, Düsseldorf 1962.
- ^ Translated from French, after: Liszt-d'Agoult: Correspondance II, p. 411.
- ^ Kennedy, 711.
- ^ a b Spencer, P., 1233
- ^ MacDonald, New Grove (1980), 18:429.
- ^ Cooper, 29.
- ^ Temperley, New Grove (1980), 18:455.
- ^ Searle, "Orchestral Works," 281; Walker, Weimar, 357.
- ^ Walker, Weimar, 304.
- ^ The inscription "In magnis et voluisse sat est" ("In great things, to have wished them is sufficient") had in Liszt's youth been correlated with his friend Felix Lichnowski.
- ^ Liszt wrote to the cover of the manuscript, "Darf man solch ein Ding schreiben oder anhören?" ("Is it allowed to write such a thing or to listen to it?")
- ^ See the letter by Berlioz to Liszt of April 28, 1836, in: Berlioz, Hector: Correspondance générale II, 1832–1842, éditée sous la direction de Pierre Citron, Paris 1975, p. 295.
- ^ For example, see Liszt's letter to J. W. von Wasielewski of January 9, 1857, in: La Mara (ed.): Liszts Briefe, Band 1, translated by Constance Bache, No. 171.
- ^ [1]
- ^ Elie Siegmeister, in The New Music Lover's Handbook; Harvey House 1973, p. 222
- ^ See: La Mara (ed.) Liszts Briefe, Band 1, translated to English by Constance Bache, No. 2.
- ^ More details will be found in: Cross: "Puzzi" Revisited: A new Look at Hermann Cohen, in the Journal of the American Liszt Society, Volume 36 / July – December 1994, p. 19ff.
- ^ See: Göllerich: Liszt, pp. 131ff. According to Göllerich's note, his catalogue was the most complete one which until then existed.
- ^ See: Nohl: Liszt, pp. 112ff. The book includes the facsimile of a letter by Liszt to Nohl of September 29, 1881, in which Liszt approved the catalogue. Liszt's letter also includes his suggestions with tegard to the order of the names.
- ^ See: Prahács: Briefe aus ungarischen Sammlungen, p. 362, n. 1 to letter 263.
- ^ See his letter to Olga Janina of May 17, 1871, in: Bory, Robert: Diverses lettres inédites de Liszt, in: Schweizerisches Jahrbuch für Musikwissenschaft 3 (1928), p. 22.
- ^ Some details will be found in: Legány: Ferenc Liszt and His Country, 1869–1873.
- ^ On June 17, 1880, it was Hans von Bülow, who gave the lesson instead of Liszt. He tried to get rid of those with minor abilities, but in vain. A couple of days later they went weeping to Liszt and were accepted again; see: Ramann: Lisztiana, p. 151, n. 55.
- ^ For example, see: Stradal: Erinnerungen an Franz Liszt, pp. 157f.
- ^ See: Stradal: Erinnerungen an Franz Liszt, p. 158.
- ^ For example, see: Ramann: Lisztiana, p. 341.
- ^ See his Erinnerungen an Franz Liszt, p. 158.
- ^ See: Steinbeck: Liszt's approach to piano playing, p. 70.
- ^ Walker, New Grove 2, 14:780.
- ^ Franz Liszt, Volume 1
- ^ See: Prahács: Briefe aus ungarischen Sammlungen, n.3 to letter 122.
- ^ For example, see Liszt's letter of November 10, 1862, to Mihály Mosonyi, in: Prahács: Briefe aus ungarischen Sammlungen, pp. 112ff. A similar letter to Baron Prónay of November 9, 1862, is solely available in a translation to Hungarian, in Zenlap of November 27, 1862, p. 69f.
- ^ In 1867 the Austrian Emperor Franz Joseph I had been crowned as Hungarian King.
- ^ See: Prahács: Briefe aus ungarischen Sammlungen, p. 353, n. 1 to letter 221.
- ^ See: Prahács: Franz Liszt und die Budapester Musikakademie, p. 61.
- ^ Liszt later tried to install Juhász with a position at the Academy, but for some resons Juhász drifted towards a different path; see: Prahács (ed.): Briefe aus ungarischen Sammlungen, p. 405f, n. 5 to letter 439.
- ^ As consequence, there were complaints from the side of the Hungarian Parliament, according to which Liszt's appointment had been a mistake.
- ^ See: Ramann: Lisztiana, p. 125.
- ^ See his Erinnerungen an Franz Liszt, p. 46.
- ^ See the critical notes in his Ferenc Liszt and His Country, 1874–1886.
- ^ Translated from German after: Prahács: Franz Liszt und die Budapester Musikakademie, p. 91.
- ^ Liszt was as composer boycotted by the Budapest Philharmonic Society. On October 22, 1881, his 70th birthday, for example, they gave a concert where exclusively works by Brahms, directed by Brahms himself, were played. Liszt afterwards refused to attend any further concert of the Philharmonic Society.
Bibliography[link]
- ed. Abraham, Gerald, Music of Tchaikovsky (New York, W. W. Norton & Company, 1946). ISBN n/a.
- Cooper, Martin, "The Symphonies"
- Bory, Robert: Une retraite romantique en Suisse, Liszt et la Comtesse d'Agoult, Lausanne 1930.
- Burger, Ernst: Franz Liszt, Eine Lebenschronik in Bildern und Dokumenten, München 1986.
- Ehrhardt, Damien (éd.): Franz Liszt – Musique, médiation, interculturalité (Etudes germaniques 63/3, 2008).
- Franz, Robert (i. e. Janina, Olga): Souvenirs d'une Cosaque, Deuxième édition, Paris 1874.
- Göllerich, August: Musikerbiographien, Achter Band, Liszt, Zweiter Theil, Reclam, Leipzig, without date (1887–88).
- Gibbs, Christopher H. and Gooley, Dana. Franz Liszt and his World. (Princeton : Princeton University Press, 2006.)
- Hamburger, Klara (ed.): Franz Liszt, Beiträge von ungarischen Autoren, Budapest 1978.
- ed. Hamilton, Kenneth, The Cambridge Companion to Liszt (Cambridge and New York: Cambridge University Press, 2005). ISBN 0-521-64462-3 (paperback).
- Shulstad, Reeves, "Liszt's symphonic poems and symphonies"
- Jerger, Wilhelm (ed.): The Piano Master Classes of Franz Liszt 1884–1886, Diary Notes of August Göllerich, translated by Richard Louis Zimdars, Indiana University Press 1996.
- ed. Latham, Alison, The Oxford Companion to Music (Oxford and New York: Oxford University Press, 2002). ISBN 0-19-866212-2
- Spencer, Piers, "Symphonic poem [tone-poem]"
- Legány, Dezső: Franz Liszt, Unbekannte Presse und Briefe aus Wien 1822–1886, Wien 1984.
- Legány, Dezső: Ferenc Liszt and His Country, 1869–1873, Occidental Press, Budapest 1983.
- Legány, Dezső: Ferenc Liszt and His Country, 1874–1886, Occidental Press, Budapest 1992.
- Liszt, Franz: Briefwechsel mit seiner Mutter, edited and annotated by Klara Hamburger, Eisenstadt 2000.
- Liszt, Franz and d'Agoult, Marie: Correspondence, ed. Daniel Ollivier, Tome I: 1833–1840, Paris 1933, Tome II: 1840–1864, Paris 1934.
- Motta, Cesare Simeone: Liszt Viaggiatore Europeo, Moncalieri, 2000 (ISBN 8877600586)
- Nohl, Ludwig: Musikerbiographien, Vierter Band, Liszt, Erster Theil, Reclam, Leipzig, without date (1881–82).
- Ollivier, Daniel: Autour de Mme d'Agoult et de Liszt, Paris 1941.
- Prahács, Margit (ed.): Franz Liszt, Briefe aus ungarischen Sammlungen, 1835–1886, Budapest 1966.
- Prahács, Margit: Franz Liszt und die Budapester Musikakademie, in: Hamburger (ed.): Franz Liszt, Beiträge von ungarischen Autoren, pp. 49ff.
- Raabe, Peter: Liszts Schaffen, Cotta, Stuttgart und Berlin 1931.
- Ramann, Lina: Lisztiana, Erinnerungen an Franz Liszt in Tagebuchblättern, Briefen und Dokumenten aus den Jahren 1873–1886/87, ed. Arthur Seidl, text revision by Friedrich Schnapp, Mainz 1983.
- Rellstab, Ludwig: Franz Liszt, Berlin 1842.
- Rosen, Charles. The Romantic Generation. Cambridge, Mass., Harvard University Press, 1995.
- ed Sadie, Stanley, The New Grove Dictionary of Music and Musicians, First Edition (London: Macmillian, 1980). ISBN 0-333-23111-2
- MacDonald, Hugh, "Symphonic poem," "Transformation, thematic"
- Searle, Humphrey, "Liszt, Franz"
- Temperley, Nicholas, "Symphony: II. 19th century"
- Saffle, Michael: Liszt in Germany, 1840–1845, Franz Liszt Studies Series No.2, Pendragon Press, Stuyvesant, NY, 1994.
- Sauer, Emil: Meine Welt, Stuttgart 1901.
- Steinbeck, Arne: Franz Liszt's approach to piano playing, PhD dissertation, University of Maryland, College Park 1971.
- Stradal, August: Erinnerungen an Franz Liszt, Bern, Leipzig 1929.
- Walker, Alan: Franz Liszt, The Virtuoso Years (1811–1847), revised edition, Cornell University Press 1987.
- Walker, Alan: Franz Liszt, The Final Years (1861–1886), Cornell University Press 1997.
- Walker, Alan: Article Liszt, Franz, in: Sadie, Stanley (ed.), The New Grove Dictionary of Music and Musicians, Second Edition, London 2001).
- Walker, Alan et al. "Liszt, Franz." Grove Music Online. Oxford Music Online. November 20, 2009. (Subscription required)
- Watson, Derek: Liszt, Schirmer Books, 1989, ISBN 0-02-872705-3
External links[link]
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Wikimedia Commons has media related to: Franz Liszt |
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Wikiquote has a collection of quotations related to: Franz Liszt |
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Wikisource has the text of the 1911 Encyclopædia Britannica article Liszt, Franz. |
- Franz Liszt at the Open Directory Project
- Free scores by Franz Liszt at the International Music Score Library Project
- Free scores by Franz Liszt in the Werner Icking Music Archive (WIMA)
- Free scores by Franz Liszt in the Choral Public Domain Library (ChoralWiki)
- Works by Franz Liszt at Project Gutenberg
- Works by or about Franz Liszt in libraries (WorldCat catalog)
- The Mutopia Project has compositions by Franz Liszt
- Printable scores by Franz Liszt
- Lina Ramann's classical Liszt biography (in German) at Zeno.org
- The Students of Liszt on Record and Reproducing Piano Roll by Mark Arnest
- Franz Liszt, written and directed by James a. Fitzpatrick; fictional 11-minute 1925 film short about Franz Liszt; Liszt's music performed by Nathaniel Shilkret's Orchestra.
- Complete recordings of Studies, Années de Pelerinage, Valses oubliées on klassik-resampled
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|||||||||||
| Persondata | |
|---|---|
| Name | Liszt, Franz |
| Alternative names | |
| Short description | Composer, conductor, pedagogue, pianist |
| Date of birth | October 22, 1811 |
| Place of birth | Doborján/Burgenland, Kingdom of Hungary |
| Date of death | July 31, 1886 |
| Place of death | Bayreuth, Germany |
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