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![Liszt - Années de pèlerinage. Première année: Suisse, S. 160 [André Laplante]](http://web.archive.org./web/20130608114420im_/http://i.ytimg.com/vi/Aj2gFk0FoKo/default.jpg "Années de pèlerinage. Première année: Suisse, S. 160 (1848-54) (Years of Pilgrimage. First Year: Switzerland) I. Chapelle de Guillaume Tell (The Chapel of Wi...")
![Liszt - Piano Sonata in B minor, S. 178 (1854) [André Laplante]](http://web.archive.org./web/20130608114420im_/http://i.ytimg.com/vi/VCHE-UPwBJA/default.jpg "Piano Sonata in B minor, S. 178 (1854) This is the sonata for solo piano by Hungarian composer Franz Liszt (1811-1886). He composed it between 1852 and 1853 ...")
![Liszt - Mephisto Waltz No. 1, S. 514 [André Laplante]](http://web.archive.org./web/20130608114420im_/http://i.ytimg.com/vi/KJbg9V2KnD8/default.jpg "Der Tanz in der Dorfschenke, S514, R181,")
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- Gérard de Nerval
- Hans Gude
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- Heinrich von Kleist
- Henry Fuseli
- Hugh Macdonald
- Humphrey Searle
- Ignaz Moscheles
- István Orosz
- István Thomán
- Jan Potocki
- Jan Václav Voříšek
- Jean Paul
- Joan of Arc
- Johan Christian Dahl
- John Clare
- John Constable
- John Keats
- Josef Danhauser
- Joseph Haydn
- José de Espronceda
- José Zorrilla
- Julius Eichberg
- Julius Reubke
- Juliusz Słowacki
- Juliusz Zarębski
- Józef Wieniawski
- Karel Hynek Mácha
- Karl Bryullov
- Karl Klindworth
- Karl Pohlig
- Kornél Ábrányi
- Leslie Ward
- Lina Ramann
- Lord Byron
- Louis Niedermeyer
- Louis Spohr
- Louise Bertin
- Ludwig Feuerbach
- Ludwig Tieck
- Ludwig Uhland
- Ludwig van Beethoven
- Mary Shelley
- Maurice Ravel
- Max Erdmannsdörfer
- Michelangelo
- Mikhail Glinka
- Mikhail Lermontov
- Miklós Barabás
- Moriz Rosenthal
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Liszt, Margie Filmography
- The Courtship of Eddie's Father (1963)
- Two Weeks in Another Town (1962)
- Bells Are Ringing (1960)
- Slander (1957)
- Nobody's Home (1955)
- Income Tax Sappy (1954)
- Deep in My Heart (1954)
- Dream Wife (1953)
- Young Man with Ideas (1952)
- Washington Story (1952)
- Heebie Gee-Gees (1952)
- Hooked and Rooked (1952)
- We're Not Married! (1952)
- Pleasure Treasure (1951)
- Baby Sitters Jitters (1951)
- Cause for Alarm! (1951)
- Valley of Fire (1951)
- The Tooth Will Out (1951)
- Callaway Went Thataway (1951)
- Grounds for Marriage (1951)
- Pest Man Wins (1951)
- As You Were (1951)
- Innocently Guilty (1950)
- A Life of Her Own (1950)
- Hold That Monkey (1950)
- House About It (1950)
- A Blunderful Time (1950)
- Side Street (1950)
- The Yellow Cab Man (1950)
- Sunk in the Sink (1949)
- Blondie's Lucky Day (1946)
- Life with Blondie (1945)
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)
Liszt, Georgia Filmography
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
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BBC Music, Volume 19, Number 13: Orchestral Works (BBC Philharmonic feat. piano: Martin Roscoe, conductors: Gianandrea Noseda, Leo Hussain)
Released 2011
Released 2011
- 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
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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
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Opern-Paraphrasen und Transkriptionen (feat. piano: Jean-Yves Thilbaudet)
Released 2010
Released 2010
- 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
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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
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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
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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"
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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
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BBC Music, Volume 6, Number 11: Fantasias and Fugues (organ: Wayne Marshall)
Released 1998
Released 1998
- 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
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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
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Faust-Symphonie (Berliner Philharmoniker feat. conductor: Daniel Barenboim)
Released 1998
Released 1998
- 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"
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BBC Music, Volume 5, Number 9: Works for Piano (Tamás Vásáry)
Released 1997
Released 1997
- 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
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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
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Liebestraum - Favourite Piano Works (feat. piano: Jorge Bolet)
Released 1995
Released 1995
- 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
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The Complete Music for Solo Piano, Volume 26: The Young Liszt (Leslie Howard)
Released 1994
Released 1994
- 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
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Symphonic Poems, Volume 1 (Leipzig Gewandhaus Orchestra feat. conductor: Kurt Masur)
Released 1993
Released 1993
- Symphonic Poem No. 5: Prometheus
- Symphonic Poem No. 7: Festklange
- Symphonic Poem No. 6: Mazeppa
- Symphonic Poem No. 8: Heroide funebre
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Liszt: Piano Concertos 1 & 2 / Hungarian Fantasy / Totentanz (Montreal Symphony Orchestra feat. conductor: Charles Dutoit, piano: Jean-Yves Thibaudet)
Released 1992
Released 1992
- 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
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Années de Pèlérinage (Years of Pilgrimage) Vol.3 (feat. Jenő Jandó)
Released 1991
Released 1991
- 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
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Années De Pèlerinage - First Year: Switzerland (feat. Jenö Jandó, Piano) (disc 1)
Released 1991
Released 1991
- 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"
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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
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Reminiscences Des Puritains first recording and other rare piano works
Released 1988
Released 1988
- 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
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Concerto pour piano et orchestre N°1 & N°2 et fantaisie hongroise
Released 1984
Released 1984
- 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
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The Great Composers: 12 - Liszt Piano Concerto No. 1 in E flat & Piano Concerto No. 2 in A (Rochester Philharmonic Orchestra)
- 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 Jun 2013
Franz Liszt - Liebestraum - Love Dream.
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Franz Liszt - Liebestraum - Love Dream.
Franz Liszt - Hungarian Rhapsody No.2 (Orchestra version)
- Order: Reorder
- Duration: 10:32
- Updated: 07 Jun 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 beyo...
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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 beyo...
- published: 15 Nov 2007
- views: 3832376
- author: 0OoFACUoO0
Liszt: Faust Symphony
- Order: Reorder
- Duration: 74:23
- Updated: 31 May 2013
Chicago Symphony Orchestra and Chorus - tenor S. Jerusalem - conductor Sir Georg Solti.
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Chicago Symphony Orchestra and Chorus - tenor S. Jerusalem - conductor Sir Georg Solti.
- published: 15 Oct 2011
- views: 83345
- author: Ayden434
Franz Liszt- Reminiscences des Huguenots
- Order: Reorder
- Duration: 72:44
- Updated: 30 May 2013
Franz Liszt (German: [fʁant͡s lɪst]); Hungarian: Liszt Ferencz, in modern use Liszt Ferenc) (Hungarian pronunciation: [list ˈfɛrɛnt͡s]), from 1859 to 1867 of...
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 of...
- published: 21 Jul 2012
- views: 34731
- author: Thanh Ngoc Nguyen
Lang Lang - Last Night Proms 2011 - Liszt Piano Concerto No. 1 in E flat major
- Order: Reorder
- Duration: 20:57
- Updated: 05 Jun 2013
Lang Lang performs Liszt Piano Concerto No. 1 in E flat major during Last Night Proms 2011 inside the Royal Albert Hall. Edward Gardner conducts the BBC Symp...
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Lang Lang performs Liszt Piano Concerto No. 1 in E flat major during Last Night Proms 2011 inside the Royal Albert Hall. Edward Gardner conducts the BBC Symp...
- published: 12 Sep 2011
- views: 455550
- author: RupertJones
Liszt - Années de pèlerinage. Première année: Suisse, S. 160 [André Laplante]
- Order: Reorder
- Duration: 49:00
- Updated: 05 Jun 2013
Années de pèlerinage. Première année: Suisse, S. 160 (1848-54) (Years of Pilgrimage. First Year: Switzerland) I. Chapelle de Guillaume Tell (The Chapel of Wi...
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Années de pèlerinage. Première année: Suisse, S. 160 (1848-54) (Years of Pilgrimage. First Year: Switzerland) I. Chapelle de Guillaume Tell (The Chapel of Wi...
- published: 08 Jun 2011
- views: 133488
- author: musicanth
Liszt - Piano Sonata in B minor, S. 178 (1854) [André Laplante]
- Order: Reorder
- Duration: 32:56
- Updated: 04 Jun 2013
Piano Sonata in B minor, S. 178 (1854) This is the sonata for solo piano by Hungarian composer Franz Liszt (1811-1886). He composed it between 1852 and 1853 ...
http://wn.com/Liszt_Piano_Sonata_in_B_minor,_S_178_1854_André_Laplante_
Piano Sonata in B minor, S. 178 (1854) This is the sonata for solo piano by Hungarian composer Franz Liszt (1811-1886). He composed it between 1852 and 1853 ...
- published: 07 Jun 2011
- views: 277483
- author: musicanth
Liszt - Mephisto Waltz No. 1, S. 514 [André Laplante]
- Order: Reorder
- Duration: 11:41
- Updated: 05 Jun 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 com...
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 com...
- published: 03 Jun 2011
- views: 161475
- author: musicanth
Horowitz plays Liszt Consolation No. 3
- Order: Reorder
- Duration: 3:58
- Updated: 07 Jun 2013
Horowitz plays Liszt!
http://wn.com/Horowitz_plays_Liszt_Consolation_No_3
Claudio Arrau plays Liszt - 12 Trascendental Etudes
- Order: Reorder
- Duration: 66:27
- Updated: 22 May 2013
00:00 - No.1 (Prélude) 01:02 - No.2 (Molto vivace) 03:21 - No.3 (Paysage) 07:37 - No.4 (Mazeppa) 15:16 - No.5 (Feux Follets) 19:41 - No.6 (Vision) 25:46 - No...
http://wn.com/Claudio_Arrau_plays_Liszt_12_Trascendental_Etudes
00:00 - No.1 (Prélude) 01:02 - No.2 (Molto vivace) 03:21 - No.3 (Paysage) 07:37 - No.4 (Mazeppa) 15:16 - No.5 (Feux Follets) 19:41 - No.6 (Vision) 25:46 - No...
- published: 25 May 2011
- views: 22924
- author: FirstPublicChannel's channel
Marc-André Hamelin's All Liszt Recital
- Order: Reorder
- Duration: 105:29
- Updated: 29 May 2013
Marc-André Hamelin gives an All-Liszt Recital at Merkin Hall, New York, on 16 April, 1996. Liszt - Apparition No. 1 in F sharp minor 01:08 Liszt - Waldesrauc...
http://wn.com/Marc-André_Hamelin's_All_Liszt_Recital
Marc-André Hamelin gives an All-Liszt Recital at Merkin Hall, New York, on 16 April, 1996. Liszt - Apparition No. 1 in F sharp minor 01:08 Liszt - Waldesrauc...
- published: 31 Jul 2011
- views: 16411
- author: madlovba3
F. Liszt - late pieces, album leaves and rarities
- Order: Reorder
- Duration: 67:32
- Updated: 18 May 2013
00:00 - Alleluja, S.183/1 (1862) 03:40 - Ave Maria (d'Arcadelt) (1862) 07:40 - Klavierstuck in E Major, S.192/1 (1865) 10:04 - Klavierstuck in A flat Major, ...
http://wn.com/F_Liszt_late_pieces,_album_leaves_and_rarities
00:00 - Alleluja, S.183/1 (1862) 03:40 - Ave Maria (d'Arcadelt) (1862) 07:40 - Klavierstuck in E Major, S.192/1 (1865) 10:04 - Klavierstuck in A flat Major, ...
- published: 24 May 2011
- views: 10150
- author: FirstPublicChannel
Vladimir Horowitz 1903 1989 Liszt Sonata, Ballade 2, Consolation, Funerailles & Mephisto waltz
- Order: Reorder
- Duration: 72:56
- Updated: 06 May 2013
http://wn.com/Vladimir_Horowitz_1903_1989_Liszt_Sonata,_Ballade_2,_Consolation,_Funerailles_Mephisto_waltz
Paganini-Liszt La Campanella HQ
- Order: Reorder
- Duration: 5:00
- Updated: 07 Jun 2013
Live from Seoul. Encore #1. Liszt "La Campanella" Buy La Campanella video http://www.amazon.co.uk/Live-Royal-Albert-Hall-DVD/dp/B008B11S1A/ref=pd_sim_m_h__1/...
http://wn.com/Paganini-Liszt_La_Campanella_HQ
Live from Seoul. Encore #1. Liszt "La Campanella" Buy La Campanella video http://www.amazon.co.uk/Live-Royal-Albert-Hall-DVD/dp/B008B11S1A/ref=pd_sim_m_h__1/...
- published: 07 Dec 2008
- views: 2605250
- author: ValentinaLisitsa
Martha Argerich - Schumann Piano Concerto, Liszt Funérailles and Ravel Jeux d'eau (1977)
- Order: Reorder
- Duration: 46:04
- Updated: 05 Jun 2013
Martha Argerich plays.
http://wn.com/Martha_Argerich_Schumann_Piano_Concerto,_Liszt_Funérailles_and_Ravel_Jeux_d'eau_1977
Liszt - La Campanella — Alice Sara Ott
- Order: Reorder
- Duration: 4:47
- Updated: 07 Jun 2013
Video: www.lastwave.de | Alice Sara Ott plays Liszt Etude "La Campanella" (after Paganini). Album released by Deutsche Grammophon http://www.alice-sara-ott.c...
http://wn.com/Liszt_La_Campanella_—_Alice_Sara_Ott
Video: www.lastwave.de | Alice Sara Ott plays Liszt Etude "La Campanella" (after Paganini). Album released by Deutsche Grammophon http://www.alice-sara-ott.c...
- published: 15 Dec 2008
- views: 382495
- author: LastedWave
Sueño de amor - Franz Liszt
- Order: Reorder
- Duration: 4:16
- Updated: 04 Jun 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: 29 May 2013
Cellist Seeli Toivio and her brother, pianist Kalle Toivio perform Franz Liszt (1811-1886) "Liebestraum" at Festival Servais 2007. Halle Basilica, Belgium, J...
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, J...
- published: 24 Jan 2009
- views: 1172543
- author: Seeli Toivio
La Campanella by Yundi Li
- Order: Reorder
- Duration: 4:28
- Updated: 07 Jun 2013
Yundi Li playing piano.
http://wn.com/La_Campanella_by_Yundi_Li
Liszt Ferenc- Szerelmi álmok
- Order: Reorder
- Duration: 8:08
- Updated: 30 Apr 2013
http://wn.com/Liszt_Ferenc_Szerelmi_álmok
Liszt, Hungarian Rhapsody No.6, Martha Argerich 1966
- Order: Reorder
- Duration: 6:49
- Updated: 01 Jun 2013
A turbulent interpretation of one of Liszt's many rhapsodies. Interesting to note her getting carried away in the final (and maniacal!) octaves nearing the e...
http://wn.com/Liszt,_Hungarian_Rhapsody_No6,_Martha_Argerich_1966
A turbulent interpretation of one of Liszt's many rhapsodies. Interesting to note her getting carried away in the final (and maniacal!) octaves nearing the e...
- published: 12 Jun 2011
- views: 395646
- author: mmoynan
Jung Lin Performs Liszt's "Hungarian Rhapsody no 2"
- Order: Reorder
- Duration: 9:39
- Updated: 05 Jun 2013
Complete video at: http://fora.tv/2007/07/08/Piano_in_World_Civilization Concert piano virtuoso Jung Lin performs Franz Liszt's "Hungarian Rhapsody no. 2." T...
http://wn.com/Jung_Lin_Performs_Liszt's_Hungarian_Rhapsody_no_2
Complete video at: http://fora.tv/2007/07/08/Piano_in_World_Civilization Concert piano virtuoso Jung Lin performs Franz Liszt's "Hungarian Rhapsody no. 2." T...
- published: 26 Dec 2007
- views: 2086790
- author: ForaTv
Liszt Three Concert Etudes S.144 No.3 "Un Sospiro" (Hamelin)
- Order: Reorder
- Duration: 5:20
- Updated: 29 May 2013
Liszt's Three Concert Etudes S.144 No.3 "Un Sospiro" Marc-Andre Hamelin, 1997 (Live, Casals Hall, Tokyo)
http://wn.com/Liszt_Three_Concert_Etudes_S144_No3_Un_Sospiro_Hamelin
Liszt's Three Concert Etudes S.144 No.3 "Un Sospiro" Marc-Andre Hamelin, 1997 (Live, Casals Hall, Tokyo)
- published: 30 May 2009
- views: 282445
- author: Sheet Music
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Tristan Pfaff, piano - Franz Liszt, La Danza (live)
- Order: Reorder
- Duration: 4:49
- Updated: 29 May 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 e...
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 e...
- published: 09 May 2011
- views: 5245
- author: AparteTV
Franz Liszt Live - With Orchestra!
- Order: Reorder
- Duration: 3:11
- Updated: 27 Aug 2010
International concert pianist PETER SIMON makes Franz Liszt come ALIVE in exciting one-of-a-kind theatrical productions. From child prodigy and poverty to th...
http://wn.com/Franz_Liszt_Live_With_Orchestra!
International concert pianist PETER SIMON makes Franz Liszt come ALIVE in exciting one-of-a-kind theatrical productions. From child prodigy and poverty to th...
- published: 01 Oct 2009
- views: 777
- author: utubecritiquer
Franz Liszt - Dante Symphony Live
- Order: Reorder
- Duration: 8:46
- Updated: 19 Jun 2012
Franz Liszt Piano Duo Vittorio Bresciani & Francesco Nicolosi.
http://wn.com/Franz_Liszt_Dante_Symphony_Live
Franz Liszt Piano Duo Vittorio Bresciani & Francesco Nicolosi.
- published: 06 Dec 2008
- views: 1885
- author: Lastanzadellerose
Paganini-Liszt La Campanella HQ
- Order: Reorder
- Duration: 5:00
- Updated: 07 Jun 2013
Live from Seoul. Encore #1. Liszt "La Campanella" Buy La Campanella video http://www.amazon.co.uk/Live-Royal-Albert-Hall-DVD/dp/B008B11S1A/ref=pd_sim_m_h__1/...
http://wn.com/Paganini-Liszt_La_Campanella_HQ
Live from Seoul. Encore #1. Liszt "La Campanella" Buy La Campanella video http://www.amazon.co.uk/Live-Royal-Albert-Hall-DVD/dp/B008B11S1A/ref=pd_sim_m_h__1/...
- published: 07 Dec 2008
- views: 2605250
- author: ValentinaLisitsa
Evgeny Kissin - Vallée d'Obermann (Franz Liszt) Live @ Philharmonie Luxembourg
- Order: Reorder
- Duration: 13:49
- Updated: 05 May 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: 20616
- author: Charel Dormans
Franz Liszt - Ad nos ad salutarem undam - concert live Lidia Ksiazkiewicz - orgue, part 3/3
- Order: Reorder
- Duration: 11:34
- Updated: 16 May 2013
Enregistrement live d'un concert du 29.07.2012 sur le grand orgue de la cathédrale de Laon (fr)
http://wn.com/Franz_Liszt_Ad_nos_ad_salutarem_undam_concert_live_Lidia_Ksiazkiewicz_orgue,_part_3_3
Enregistrement live d'un concert du 29.07.2012 sur le grand orgue de la cathédrale de Laon (fr)
- published: 13 Aug 2012
- views: 4783
- author: Laon Villanelle
Consolation No. 3 in D-flat Major - Franz Liszt (Live recital)
- Order: Reorder
- Duration: 4:57
- Updated: 15 Jan 2013
Consolation No. 3 in D-flat Major Franz Liszt Me playing Liszt's third Consolation at an adult piano recital. The room was very tiny hence the camera angle, ...
http://wn.com/Consolation_No_3_in_D-flat_Major_Franz_Liszt_Live_recital
Consolation No. 3 in D-flat Major Franz Liszt Me playing Liszt's third Consolation at an adult piano recital. The room was very tiny hence the camera angle, ...
- published: 03 Dec 2012
- views: 22
- author: Matt Berardinelli
Jesse Davis "live" Franz Liszt Rigoletto Paraphrase
- Order: Reorder
- Duration: 6:32
- Updated: 16 Jan 2013
Jesse Davis gives a "live" performance of Liszt's Rigoletto Paraphrase in New Orleans, Louisiana. This is a piano transcription of the famous quartet from th...
http://wn.com/Jesse_Davis_live_Franz_Liszt_Rigoletto_Paraphrase
Jesse Davis gives a "live" performance of Liszt's Rigoletto Paraphrase in New Orleans, Louisiana. This is a piano transcription of the famous quartet from th...
- published: 26 Dec 2012
- views: 269
- author: Jesse Davis
Pogorelich-Franz Liszt Sonata in B minor(complete), Live 1993
- Order: Reorder
- Duration: 36:22
- Updated: 01 Jun 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 ...
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 ...
- published: 01 Apr 2011
- views: 43294
- author: chopin4321
Franz Liszt - Ad nos ad salutarem undam - concert live Lidia Ksiazkiewicz - orgue, part 1/3
- Order: Reorder
- Duration: 9:16
- Updated: 18 May 2013
Enregistrement live d'un concert du 29.07.2012 sur le grand orgue de la cathédrale de Laon (fr)
http://wn.com/Franz_Liszt_Ad_nos_ad_salutarem_undam_concert_live_Lidia_Ksiazkiewicz_orgue,_part_1_3
Enregistrement live d'un concert du 29.07.2012 sur le grand orgue de la cathédrale de Laon (fr)
- published: 12 Aug 2012
- views: 3789
- author: Laon Villanelle
Pianista Francesco Nicolosi, Franz Liszt - Malediction for Piano and String Orchestra
- Order: Reorder
- Duration: 14:32
- Updated: 29 May 2013
Abstract Live Concert from Vilnius Piano Music Festival - November 26, 2011 Lithuanian National Symphony Orchestra Conductor Robertas Servenikas.
http://wn.com/Pianista_Francesco_Nicolosi,_Franz_Liszt_Malediction_for_Piano_and_String_Orchestra
Abstract Live Concert from Vilnius Piano Music Festival - November 26, 2011 Lithuanian National Symphony Orchestra Conductor Robertas Servenikas.
- published: 21 Apr 2012
- views: 555
- author: Lastanzadellerose
Franz Liszt - Ad nos ad salutarem undam - concert live Lidia Ksiazkiewicz - orgue, part 2/3
- Order: Reorder
- Duration: 7:22
- Updated: 26 May 2013
Enregistrement live d'un concert du 29.07.2012 sur le grand orgue de la cathédrale de Laon (fr)
http://wn.com/Franz_Liszt_Ad_nos_ad_salutarem_undam_concert_live_Lidia_Ksiazkiewicz_orgue,_part_2_3
Enregistrement live d'un concert du 29.07.2012 sur le grand orgue de la cathédrale de Laon (fr)
- published: 13 Aug 2012
- views: 1358
- author: Laon Villanelle
Tristan Pfaff, piano - Franz Liszt, Rakoczy March (live)
- Order: Reorder
- Duration: 2:17
- Updated: 27 May 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 e...
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 e...
- published: 09 May 2011
- views: 5949
- author: AparteTV
Colin Lee: Pace non trovo, Franz Liszt (Live)
- Order: Reorder
- Duration: 6:52
- Updated: 04 May 2012
Live at the Baxter Theatre, Cape Town Piano: Albie Van Schalkwyk.
http://wn.com/Colin_Lee_Pace_non_trovo,_Franz_Liszt_Live
Live at the Baxter Theatre, Cape Town Piano: Albie Van Schalkwyk.
- published: 31 Jan 2012
- views: 248
- author: TheJk1001
Lang Lang on live concert for Franz Liszt's 200th birthday
- Order: Reorder
- Duration: 1:50
- Updated: 21 Apr 2013
XDC Entertainment is proud to announce the distribution of a special event performed by renowned international pianist Lang Lang, with Philadelphia Orchestra...
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...
- published: 30 Sep 2011
- views: 4041
- author: alternativecontent
Franz Liszt: Liebestraum - Live aus der Freien Bühne Wieden
- Order: Reorder
- Duration: 2:55
- Updated: 11 Apr 2013
Musical Highlight from the live performance of "Künstler und andere Tiere" from "Freie Bühne Wieden" with Mario Schott-Zierotin (Double Bass), Bela Fischer (...
http://wn.com/Franz_Liszt_Liebestraum_Live_aus_der_Freien_Bühne_Wieden
Musical Highlight from the live performance of "Künstler und andere Tiere" from "Freie Bühne Wieden" with Mario Schott-Zierotin (Double Bass), Bela Fischer (...
- published: 19 Mar 2011
- views: 546
- author: zierotin
Ivo Pogorelich - (1/3) Franz Liszt Sonata in B minor, Live 1993
- Order: Reorder
- Duration: 15:00
- Updated: 14 Apr 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 m...
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 m...
- published: 29 Mar 2011
- author: chopin4321
Franz Liszt Sonata in B minor Arcadi Volodos Live 2011
- Order: Reorder
- Duration: 32:22
- Updated: 22 Apr 2013
Franz Liszt Sonata in B minor Arcadi Volodos Live in Brussels 11 octobre 2011.
http://wn.com/Franz_Liszt_Sonata_in_B_minor_Arcadi_Volodos_Live_2011
Franz Liszt Sonata in B minor Arcadi Volodos Live in Brussels 11 octobre 2011.
- published: 12 Oct 2011
- views: 15374
- author: masterofsynapsis
Franz LISZT Liebestraum no. 3 - Pianist Michel Mañanes Live
- Order: Reorder
- Duration: 3:49
- Updated: 23 Feb 2013
For better Audio click here: http://www.youtube.com/watch?v=bNakAktgblU&fmt;=18 Michel Mañanes plays live the famous Franz Liszt liebestraum no.3.Has won firs...
http://wn.com/Franz_LISZT_Liebestraum_no_3_Pianist_Michel_Mañanes_Live
For better Audio click here: http://www.youtube.com/watch?v=bNakAktgblU&fmt;=18 Michel Mañanes plays live the famous Franz Liszt liebestraum no.3.Has won firs...
- published: 20 Jan 2008
- views: 26955
- author: Michel Mananes
Maria-Magdalena Kaczor plays Franz Liszt "BACH" live at Notre-Dame-de-Fourvière, Lyon (F)
- Order: Reorder
- Duration: 13:46
- Updated: 03 May 2013
Maria-Magdalena Kaczor plays Franz Liszt "BACH" live at Notre-Dame-de-Fourvière, Lyon (F) on the occasion of her recital on Sunday, February 13, 2011. The or...
http://wn.com/Maria-Magdalena_Kaczor_plays_Franz_Liszt_BACH_live_at_Notre-Dame-de-Fourvière,_Lyon_F
Maria-Magdalena Kaczor plays Franz Liszt "BACH" live at Notre-Dame-de-Fourvière, Lyon (F) on the occasion of her recital on Sunday, February 13, 2011. The or...
- published: 20 Apr 2011
- views: 2537
- author: aeolusianer
Franz Liszt Hungarian Rhapsody 13 By Arcadi Volodos Live
- Order: Reorder
- Duration: 7:19
- Updated: 09 Mar 2013
Franz Liszt Hungarian Rhapsody 13 By Arcadi Volodos Live in Paris 6 april 2002.
http://wn.com/Franz_Liszt_Hungarian_Rhapsody_13_By_Arcadi_Volodos_Live
Franz Liszt Hungarian Rhapsody 13 By Arcadi Volodos Live in Paris 6 april 2002.
- published: 29 Nov 2011
- views: 1101
- author: masterofsynapsis
SILVIA CATTANEO* Franz Liszt, TARANTELLA live.wmv
- Order: Reorder
- Duration: 10:29
- Updated: 12 May 2013
Franz Liszt - da "Années de Pèlerinage" VENEZIA e NAPOLI *TARANTELLA LIVE RECORDING in CONCERT 12 maggio 2012 Milano PIANOCITY House Concert pianoforte Silvi...
http://wn.com/SILVIA_CATTANEO*_Franz_Liszt,_TARANTELLA_livewmv
Franz Liszt - da "Années de Pèlerinage" VENEZIA e NAPOLI *TARANTELLA LIVE RECORDING in CONCERT 12 maggio 2012 Milano PIANOCITY House Concert pianoforte Silvi...
- published: 09 Jul 2012
- views: 211
- author: SilviaCattaneoMusic
Franz Liszt-Scherzo Und Marsch (V.Horowitz NYC Live 1967)
- Order: Reorder
- Duration: 10:50
- Updated: 30 Mar 2013
http://wn.com/Franz_Liszt-Scherzo_Und_Marsch_VHorowitz_NYC_Live_1967
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Franz Liszt- Reminiscences des Huguenots
- Order: Reorder
- Duration: 72:44
- Updated: 30 May 2013
Franz Liszt (German: [fʁant͡s lɪst]); Hungarian: Liszt Ferencz, in modern use Liszt Ferenc) (Hungarian pronunciation: [list ˈfɛrɛnt͡s]), from 1859 to 1867 of...
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 of...
- published: 21 Jul 2012
- views: 34731
- author: Thanh Ngoc Nguyen
Franz Liszt - 14 Schubert Lieder
- Order: Reorder
- Duration: 68:52
- Updated: 31 May 2013
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, S...
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, S...
- published: 14 Nov 2012
- views: 9470
- author: Wolfgang Amadé Mozart
Franz Liszt - Piano Sonata in B Minor, S. 178 (Piano Solo)
- Order: Reorder
- Duration: 32:56
- Updated: 28 May 2013
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 dedicatio...
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 dedicatio...
- published: 14 Aug 2012
- views: 6117
- author: Epic Piano
Franz Liszt - 12 Etudes d'execution transcendante, S139/R2b
- Order: Reorder
- Duration: 63:56
- Updated: 15 May 2013
Jeno Jando, piano Franz Liszt - 12 Etudes d'execution transcendante, S139/R2b No. 1 in C major, "Preludio" 00:00:52 No. 2 in A major, "Fusees" 00:02:28 No. 3...
http://wn.com/Franz_Liszt_12_Etudes_d'execution_transcendante,_S139_R2b
Jeno Jando, piano Franz Liszt - 12 Etudes d'execution transcendante, S139/R2b No. 1 in C major, "Preludio" 00:00:52 No. 2 in A major, "Fusees" 00:02:28 No. 3...
- published: 12 Nov 2012
- views: 1770
- author: Wolfgang Amadé Mozart
PIANO RECITAL - FRANZ LISZT 200th BIRTHDAY ANNIVERSARY (2011) - Alvaro Ordoñez - Piano
- Order: Reorder
- Duration: 66:35
- Updated: 30 May 2013
PIANO RECITAL FRANZ LISZT 200th BIRTHDAY ANNIVERSARY PROGRAM Franz Liszt (1811-1886): - "Nuages Gris" Arranged by Álvaro Ordóñez (0: 00:29) - Valse Oubliée N...
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...
- published: 11 Feb 2012
- views: 2333
- author: Alvarordonez
Franz Liszt, Piano Concerto No 1: Marek Krowicki, piano
- Order: Reorder
- Duration: 20:16
- Updated: 09 May 2013
Alexis Hauser conducts McGill Symphony Orchestra Montreal with Marek Krowicki at the piano. Performed on April 5, 2012 at Pollack Hall of Schulich School of ...
http://wn.com/Franz_Liszt,_Piano_Concerto_No_1_Marek_Krowicki,_piano
Alexis Hauser conducts McGill Symphony Orchestra Montreal with Marek Krowicki at the piano. Performed on April 5, 2012 at Pollack Hall of Schulich School of ...
- published: 07 Apr 2012
- views: 5507
- author: MGSOconcerts
Franz Liszt : virtuoso fantastico
- Order: Reorder
- Duration: 59:51
- Updated: 22 Dec 2012
France Culture - LES VENDREDIS DE LA MUSIQUE n°85 du 3 juin 2011, par Jeanne-Martine Vacher - Avec la pianiste Claire-Marie le Guay et Bruno Moisan (SR) aute...
http://wn.com/Franz_Liszt_virtuoso_fantastico
France Culture - LES VENDREDIS DE LA MUSIQUE n°85 du 3 juin 2011, par Jeanne-Martine Vacher - Avec la pianiste Claire-Marie le Guay et Bruno Moisan (SR) aute...
- published: 22 Dec 2012
- views: 202
- author: gabrielshare
Sonata in B Minor by Franz Liszt
- Order: Reorder
- Duration: 30:28
- Updated: 22 May 2013
At his first Doctor of Musical Arts piano recital, Martin Leung plays Sonata in B Minor, S. 178 by Franz Liszt. Alfred Newman Recital Hall, University of Sou...
http://wn.com/Sonata_in_B_Minor_by_Franz_Liszt
At his first Doctor of Musical Arts piano recital, Martin Leung plays Sonata in B Minor, S. 178 by Franz Liszt. Alfred Newman Recital Hall, University of Sou...
- published: 15 Mar 2013
- views: 1871
- author: Video Game Pianist
Franz Liszt: Sonate h-Moll - Aya Matsushita
- Order: Reorder
- Duration: 31:22
- Updated: 18 May 2013
Live Mitschnitt aus dem Kammermusiksaal vom 27.10.2011 Aya Matsushita, Klavier.
http://wn.com/Franz_Liszt_Sonate_h-Moll_Aya_Matsushita
Live Mitschnitt aus dem Kammermusiksaal vom 27.10.2011 Aya Matsushita, Klavier.
- published: 21 Mar 2012
- views: 3774
- author: hmtRostock
Sonata in B Minor, by Franz Liszt
- Order: Reorder
- Duration: 33:10
- Updated: 14 May 2013
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 St...
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 St...
- published: 26 Feb 2012
- author: Rodney Leinberger
Franz Liszt - Ce qu'on entend sur la montagne
- Order: Reorder
- Duration: 30:44
- Updated: 07 Mar 2013
Symphonic poem No. 1, inspired by the poem "Feuilles d'automne" by Victor Hugo. London Philharmonic Orchestra, conductor: Bernard Haitink.
http://wn.com/Franz_Liszt_Ce_qu'on_entend_sur_la_montagne
Symphonic poem No. 1, inspired by the poem "Feuilles d'automne" by Victor Hugo. London Philharmonic Orchestra, conductor: Bernard Haitink.
- published: 17 Mar 2012
- views: 3016
- author: Kanał użytkownika FranzDestroyer
Franz Liszt - Lieder von Robert Schumann
- Order: Reorder
- Duration: 27:46
- Updated: 13 May 2013
Joseph Banowetz, piano Franz Liszt - Lieder von Robert Schumann, S569/R257, Nos. 1-7 No. 3. Fruhlings Ankunft 00:01:31 No. 4. Des Sennen Abschied 00:01:49 No...
http://wn.com/Franz_Liszt_Lieder_von_Robert_Schumann
Joseph Banowetz, piano Franz Liszt - Lieder von Robert Schumann, S569/R257, Nos. 1-7 No. 3. Fruhlings Ankunft 00:01:31 No. 4. Des Sennen Abschied 00:01:49 No...
- published: 10 Nov 2012
- views: 444
- author: Wolfgang Amadé Mozart
Franz Liszt Anées de Pèlerinage: Première Année - Suisse, Emilio Peroni - piano
- Order: Reorder
- Duration: 55:08
- Updated: 13 May 2013
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: 1463
- author: Tonregisseur
Gillian Weir - Franz Liszt's Fantasia and Fugue on "Ad nos, ad Salutarem undam"
- Order: Reorder
- Duration: 28:12
- Updated: 03 Jun 2013
The Latin exhortation "Ad nos, ad Salutarem undam" (Come to us, to the waves of salvation) is from Meyerbeer's opera Le Prophète. Franz Liszt uses the choral...
http://wn.com/Gillian_Weir_Franz_Liszt's_Fantasia_and_Fugue_on_Ad_nos,_ad_Salutarem_undam
The Latin exhortation "Ad nos, ad Salutarem undam" (Come to us, to the waves of salvation) is from Meyerbeer's opera Le Prophète. Franz Liszt uses the choral...
- published: 15 Apr 2012
- views: 6381
- author: organwizard
Franz Liszt: Piano Concerto #1 E-flat major
- Order: Reorder
- Duration: 20:45
- Updated: 17 May 2013
Franz Liszt: Concerto for Piano and Orchestra #1 E-flat major Jovianney E. Cruz, piano Philippine Philharmonic Orchestra under the batton of Maestro Ruggero ...
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 ...
- published: 10 Feb 2011
- views: 9253
- author: isispartners1
Ilya Kondratiev plays Franz Liszt: Piano Concerto No. 2 - Piano Competition Finale
- Order: Reorder
- Duration: 23:31
- Updated: 30 Apr 2013
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 Lisz...
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 Lisz...
- published: 02 Nov 2011
- views: 2504
- author: hfmFRANZLISZTweimar
Franz Liszt Piano Concerto No. 2 in A Major, S. 125 | László Gyimesi
- Order: Reorder
- Duration: 21:12
- Updated: 06 Apr 2013
László Gyimesi plays Franz Liszt Piano Concerto No. 2 in A Major, S. 125 with Budapest Symphony Orchestra under Ervin Lukács. Live Recording.
http://wn.com/Franz_Liszt_Piano_Concerto_No_2_in_A_Major,_S_125_|_László_Gyimesi
László Gyimesi plays Franz Liszt Piano Concerto No. 2 in A Major, S. 125 with Budapest Symphony Orchestra under Ervin Lukács. Live Recording.
- published: 14 Jan 2013
- views: 416
- author: SrClavier
CLIDAT France - Franz LISZT
- Order: Reorder
- Duration: 40:04
- Updated: 07 May 2013
I - Un sospiro 01 - Troisième caprice poétique - 00'00" (05'18") II - Deux études de concert 02 - Waldesrausvhen (Murmures de la forêt) - 05'18" (03'45") 03 ...
http://wn.com/CLIDAT_France_Franz_LISZT
I - Un sospiro 01 - Troisième caprice poétique - 00'00" (05'18") II - Deux études de concert 02 - Waldesrausvhen (Murmures de la forêt) - 05'18" (03'45") 03 ...
- published: 02 May 2013
- views: 41
- author: Condorcet37
FRANZ LISZT.- Estudios-Leyendas- Varios- (piano)
- Order: Reorder
- Duration: 50:10
- Updated: 18 May 2013
FRANZ LISZT.- Estudios-Leyendas- Varios- (piano) Estudio Nº 5 en Mi mayor " La caza" Rapsodia Hungara Nº 9 en Mi bemol mayor Leyenda Nº 2 en Mi mayor Op. 17 ...
http://wn.com/FRANZ_LISZT_Estudios-Leyendas_Varios_piano
FRANZ LISZT.- Estudios-Leyendas- Varios- (piano) Estudio Nº 5 en Mi mayor " La caza" Rapsodia Hungara Nº 9 en Mi bemol mayor Leyenda Nº 2 en Mi mayor Op. 17 ...
- published: 18 Nov 2012
- views: 383
- author: Carlos Garcia
Liszt ~ Piano Sonata in B Minor ~ Premier recording by Arthur Friedheim ~ Leipzig 1905.
- Order: Reorder
- Duration: 25:03
- Updated: 13 May 2013
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 r...
http://wn.com/Liszt_~_Piano_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 r...
- published: 15 Apr 2012
- views: 2048
- author: RollaArtis
Franz Liszt - "Rapsodia española" (1863)
- Order: Reorder
- Duration: 20:22
- Updated: 02 Apr 2013
Franz Liszt (1811-1886) "Rapsodia española" (1863) S.254, R.90 Intérprete: Leslie Howard (piano) Síguenos en Facebook http://www.facebook.com/unamorenayunarubia.
http://wn.com/Franz_Liszt_Rapsodia_española_1863
Franz Liszt (1811-1886) "Rapsodia española" (1863) S.254, R.90 Intérprete: Leslie Howard (piano) Síguenos en Facebook http://www.facebook.com/unamorenayunarubia.
- published: 05 Feb 2013
- views: 242
- author: L'armata armonica
Marina Yakhlakova plays Piano Concerto No.1 by Franz Liszt - Piano Competition Finale
- Order: Reorder
- Duration: 21:33
- Updated: 17 May 2013
Ton-Aufnahme/Audio-Recording: MDR FIGARO 20 year old Marina Yakhlakova, winner of the first prize in the 7th International Franz Liszt Piano Competition Weim...
http://wn.com/Marina_Yakhlakova_plays_Piano_Concerto_No1_by_Franz_Liszt_Piano_Competition_Finale
Ton-Aufnahme/Audio-Recording: MDR FIGARO 20 year old Marina Yakhlakova, winner of the first prize in the 7th International Franz Liszt Piano Competition Weim...
- published: 31 Oct 2011
- views: 4771
- author: hfmFRANZLISZTweimar
Musik auf dem Konzertflügel, den Franz Liszt bei seinem letzten Konzert im Jahre 1886 bespielte
- Order: Reorder
- Duration: 47:41
- Updated: 22 May 2013
Am 19. Juli 1886, nur wenige Tage vor seinem Tod, gab der ungarische Komponist und Pianist Franz Liszt den letzten Klavierabend seines Lebens im Casino der S...
http://wn.com/Musik_auf_dem_Konzertflügel,_den_Franz_Liszt_bei_seinem_letzten_Konzert_im_Jahre_1886_bespielte
Am 19. Juli 1886, nur wenige Tage vor seinem Tod, gab der ungarische Komponist und Pianist Franz Liszt den letzten Klavierabend seines Lebens im Casino der S...
- published: 16 Feb 2012
- views: 1062
- author: Wolfgang Bogler
Send this Playlist by SMS
Franz Liszt - Liebestraum - Love Dream
- Order: Reorder
- Duration: 5:50
- Updated: 05 Jun 2013
Franz Liszt - Liebestraum - Love Dream.
http://wn.com/Franz_Liszt_Liebestraum_Love_Dream
Franz Liszt - Liebestraum - Love Dream.
- published: 24 Oct 2008
- views: 2870461
- author: TheWickedNorth
Franz Liszt- Reminiscences des Huguenots
- Order: Reorder
- Duration: 72:44
- Updated: 30 May 2013
Franz Liszt (German: [fʁant͡s lɪst]); Hungarian: Liszt Ferencz, in modern use Liszt Ferenc) (Hungarian pronunciation: [list ˈfɛrɛnt͡s]), from 1859 to 1867 of...
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 of...
- published: 21 Jul 2012
- views: 34731
- author: Thanh Ngoc Nguyen
Franz Liszt - Hungarian Rhapsody No.2 (Orchestra version)
- Order: Reorder
- Duration: 10:32
- Updated: 07 Jun 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 beyo...
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 beyo...
- published: 15 Nov 2007
- views: 3832376
- author: 0OoFACUoO0
Franz Liszt - Hungarian Rhapsody no.2 (The Perfect Version)
- Order: Reorder
- Duration: 10:32
- Updated: 30 May 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: 696706
- author: jazzkosova
Franz Liszt - 14 Schubert Lieder
- Order: Reorder
- Duration: 68:52
- Updated: 31 May 2013
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, S...
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, S...
- published: 14 Nov 2012
- views: 9470
- author: Wolfgang Amadé Mozart
Franz Liszt - Piano Sonata in B Minor, S. 178 (Piano Solo)
- Order: Reorder
- Duration: 32:56
- Updated: 28 May 2013
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 dedicatio...
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 dedicatio...
- published: 14 Aug 2012
- views: 6117
- author: Epic Piano
Franz Liszt - Les préludes
- Order: Reorder
- Duration: 16:34
- Updated: 30 May 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. ...
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. ...
- published: 22 Oct 2011
- views: 30696
- author: Fledermaus1990
Franz Liszt - 12 Etudes d'execution transcendante, S139/R2b
- Order: Reorder
- Duration: 63:56
- Updated: 15 May 2013
Jeno Jando, piano Franz Liszt - 12 Etudes d'execution transcendante, S139/R2b No. 1 in C major, "Preludio" 00:00:52 No. 2 in A major, "Fusees" 00:02:28 No. 3...
http://wn.com/Franz_Liszt_12_Etudes_d'execution_transcendante,_S139_R2b
Jeno Jando, piano Franz Liszt - 12 Etudes d'execution transcendante, S139/R2b No. 1 in C major, "Preludio" 00:00:52 No. 2 in A major, "Fusees" 00:02:28 No. 3...
- published: 12 Nov 2012
- views: 1770
- author: Wolfgang Amadé Mozart
Franz Liszt - Ein Europäer in Weimar: Interview mit Hellmut Seemann
- Order: Reorder
- Duration: 3:29
- Updated: 05 May 2012
Interview in German with Hellmut Seemann, president of the Klassik foundation, about Liszt's importance for Weimar. On the occasion of the exhibition "Franz ...
http://wn.com/Franz_Liszt_Ein_Europäer_in_Weimar_Interview_mit_Hellmut_Seemann
Interview in German with Hellmut Seemann, president of the Klassik foundation, about Liszt's importance for Weimar. On the occasion of the exhibition "Franz ...
- published: 21 Nov 2011
- views: 144
- author: kunst+film
Sueño de amor - Franz Liszt
- Order: Reorder
- Duration: 4:16
- Updated: 04 Jun 2013
Sueño de amor - Franz Liszt.
http://wn.com/Sueño_de_amor_Franz_Liszt
Liszt - ein paneuropäischer Komponist - Daniel Barenboim über Franz Liszt - Episode 1
- Order: Reorder
- Duration: 2:13
- Updated: 23 Nov 2012
Daniel Barenboim, Schirmherr des Liszt-Jahres 2011 von Deutsche Grammophon und Decca, hat sich in einem Interview zu Leben, Werk und Wirken von Franz Liszt g...
http://wn.com/Liszt_ein_paneuropäischer_Komponist_Daniel_Barenboim_über_Franz_Liszt_Episode_1
Daniel Barenboim, Schirmherr des Liszt-Jahres 2011 von Deutsche Grammophon und Decca, hat sich in einem Interview zu Leben, Werk und Wirken von Franz Liszt g...
- published: 25 May 2011
- views: 1202
- author: Klassik von A-Z
Franz Liszt - Ein Europäer in Weimar: Interview mit Christoph Stölzl
- Order: Reorder
- Duration: 2:30
- Updated: 31 Mar 2013
Interview in German with Christoph Stölzl, director of the Academy of Music Franz Liszt, about Liszt's cultural policy. On the occasion of the exhibition "Fr...
http://wn.com/Franz_Liszt_Ein_Europäer_in_Weimar_Interview_mit_Christoph_Stölzl
Interview in German with Christoph Stölzl, director of the Academy of Music Franz Liszt, about Liszt's cultural policy. On the occasion of the exhibition "Fr...
- published: 21 Nov 2011
- views: 91
- author: wwwkunstundfilmde
PIANO RECITAL - FRANZ LISZT 200th BIRTHDAY ANNIVERSARY (2011) - Alvaro Ordoñez - Piano
- Order: Reorder
- Duration: 66:35
- Updated: 30 May 2013
PIANO RECITAL FRANZ LISZT 200th BIRTHDAY ANNIVERSARY PROGRAM Franz Liszt (1811-1886): - "Nuages Gris" Arranged by Álvaro Ordóñez (0: 00:29) - Valse Oubliée N...
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...
- published: 11 Feb 2012
- views: 2333
- author: Alvarordonez
Victor Borge & Mike Wallace with Franz Liszt part 1
- Order: Reorder
- Duration: 10:03
- Updated: 31 May 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 hu...
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 hu...
- published: 05 Sep 2011
- views: 8220
- author: Milewskige
![Franz Liszt - Hungarian Rhapsody n.2 with an original cadenza [Paolo Marzocchi]](http://web.archive.org./web/20130608114420im_/http://i.ytimg.com/vi/Tp27ji7CmPs/default.jpg "Franz Liszt - Hungarian Rhapsody n.2 with an original cadenza [Paolo Marzocchi]")
Franz Liszt - Hungarian Rhapsody n.2 with an original cadenza [Paolo Marzocchi]
- Order: Reorder
- Duration: 11:25
- Updated: 31 May 2013
Paolo Marzocchi plays Hungarian Rhapsody n° 2 by Franz Liszt with an original cadenza.
http://wn.com/Franz_Liszt_Hungarian_Rhapsody_n2_with_an_original_cadenza_Paolo_Marzocchi_
Paolo Marzocchi plays Hungarian Rhapsody n° 2 by Franz Liszt with an original cadenza.
- published: 16 Dec 2010
- views: 496544
- author: trillice87
Liszt - Mephisto Waltz No. 1, S. 514 [André Laplante]
- Order: Reorder
- Duration: 11:41
- Updated: 05 Jun 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 com...
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 com...
- published: 03 Jun 2011
- views: 161475
- author: musicanth
Franz Liszt: Liebestraum cello and piano
- Order: Reorder
- Duration: 5:27
- Updated: 29 May 2013
Cellist Seeli Toivio and her brother, pianist Kalle Toivio perform Franz Liszt (1811-1886) "Liebestraum" at Festival Servais 2007. Halle Basilica, Belgium, J...
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, J...
- published: 24 Jan 2009
- views: 1172543
- author: Seeli Toivio
© Franz Liszt - Etude nr. 3, La Campanella - Alice Sara Ott
- Order: Reorder
- Duration: 6:07
- Updated: 05 Jun 2013
Franz Liszt (1811-1886) - Etude nr. 3, La Campanella (The Little Bell)([1838]+1851) - Alice Sara Ott - Performed in Danmarks Radio Concert Hall in 2012 © Dan...
http://wn.com/©_Franz_Liszt_Etude_nr_3,_La_Campanella_Alice_Sara_Ott
Franz Liszt (1811-1886) - Etude nr. 3, La Campanella (The Little Bell)([1838]+1851) - Alice Sara Ott - Performed in Danmarks Radio Concert Hall in 2012 © Dan...
- published: 31 May 2012
- views: 19724
- author: mugge62
Victor Borge & Mike Wallace with Franz Liszt part 2
- Order: Reorder
- Duration: 3:37
- Updated: 13 Mar 2013
Continuation of Mike Wallace interview with "Franz Liszt." In this clip, Borge performs a piano duet with Leonid Hambro. Hungarian Rhapsody no. 2.
http://wn.com/Victor_Borge_Mike_Wallace_with_Franz_Liszt_part_2
Continuation of Mike Wallace interview with "Franz Liszt." In this clip, Borge performs a piano duet with Leonid Hambro. Hungarian Rhapsody no. 2.
- published: 19 Aug 2011
- views: 8683
- author: Milewskige
Franz Liszt - Un Sospiro (by Marc-André Hamelin)
- Order: Reorder
- Duration: 5:18
- Updated: 30 May 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: 713233
- author: carlosq
Franz Liszt: fantasie über B.A.C.H. Wim Stroman orgel Doesburg
- Order: Reorder
- Duration: 15:39
- Updated: 21 Apr 2013
Het ultieme orgelwerk van Franz List geinspireerd op de letters B.A.C.H. als een geweldig eerbetoon aan de grootste conponist aller tijden. Het Walcker orgel...
http://wn.com/Franz_Liszt_fantasie_über_BACH_Wim_Stroman_orgel_Doesburg
Het ultieme orgelwerk van Franz List geinspireerd op de letters B.A.C.H. als een geweldig eerbetoon aan de grootste conponist aller tijden. Het Walcker orgel...
- published: 06 Jul 2011
- views: 3475
- author: wimstroman
Bugs Bunny Franz Liszt
- Order: Reorder
- Duration: 1:29
- Updated: 05 Jun 2013
http://wn.com/Bugs_Bunny_Franz_Liszt
Franz Liszt - Orpheus, symphonic poem No. 4
- Order: Reorder
- Duration: 10:59
- Updated: 18 May 2013
Franz Liszt composed his "Orpheus" in 1853-4, numbering it No. 4 in his cycle of 12 symphonic poems written during his time in Weimar, Germany. It was first ...
http://wn.com/Franz_Liszt_Orpheus,_symphonic_poem_No_4
Franz Liszt composed his "Orpheus" in 1853-4, numbering it No. 4 in his cycle of 12 symphonic poems written during his time in Weimar, Germany. It was first ...
- published: 11 Dec 2011
- views: 5295
- author: Classical Music
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 e...
- published: 09 May 2011
- views: 5245
- author: AparteTV
3:11
Franz Liszt Live - With Orchestra!
International concert pianist PETER SIMON makes Franz Liszt come ALIVE in exciting one-of-...
published: 01 Oct 2009
author: utubecritiquer
Franz Liszt Live - With Orchestra!
International concert pianist PETER SIMON makes Franz Liszt come ALIVE in exciting one-of-a-kind theatrical productions. From child prodigy and poverty to th...
- published: 01 Oct 2009
- views: 777
- author: utubecritiquer
8:46
Franz Liszt - Dante Symphony Live
Franz Liszt Piano Duo Vittorio Bresciani & Francesco Nicolosi....
published: 06 Dec 2008
author: Lastanzadellerose
Franz Liszt - Dante Symphony Live
Franz Liszt Piano Duo Vittorio Bresciani & Francesco Nicolosi.
- published: 06 Dec 2008
- views: 1885
- author: Lastanzadellerose
5:00
Paganini-Liszt La Campanella HQ
Live from Seoul. Encore #1. Liszt "La Campanella" Buy La Campanella video http://www.amazo...
published: 07 Dec 2008
author: ValentinaLisitsa
Paganini-Liszt La Campanella HQ
Live from Seoul. Encore #1. Liszt "La Campanella" Buy La Campanella video http://www.amazon.co.uk/Live-Royal-Albert-Hall-DVD/dp/B008B11S1A/ref=pd_sim_m_h__1/...
- published: 07 Dec 2008
- views: 2605250
- author: ValentinaLisitsa
13:49
Evgeny Kissin - Vallée d'Obermann (Franz Liszt) Live @ Philharmonie Luxembourg
Evgeny Kissin playing the song Vallée d' Obermann of Franz Liszt live at Philharmonie Luxe...
published: 26 Jun 2011
author: Charel Dormans
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: 20616
- author: Charel Dormans
11:34
Franz Liszt - Ad nos ad salutarem undam - concert live Lidia Ksiazkiewicz - orgue, part 3/3
Enregistrement live d'un concert du 29.07.2012 sur le grand orgue de la cathédrale de Laon...
published: 13 Aug 2012
author: Laon Villanelle
Franz Liszt - Ad nos ad salutarem undam - concert live Lidia Ksiazkiewicz - orgue, part 3/3
Enregistrement live d'un concert du 29.07.2012 sur le grand orgue de la cathédrale de Laon (fr)
- published: 13 Aug 2012
- views: 4783
- author: Laon Villanelle
4:57
Consolation No. 3 in D-flat Major - Franz Liszt (Live recital)
Consolation No. 3 in D-flat Major Franz Liszt Me playing Liszt's third Consolation at an a...
published: 03 Dec 2012
author: Matt Berardinelli
Consolation No. 3 in D-flat Major - Franz Liszt (Live recital)
Consolation No. 3 in D-flat Major Franz Liszt Me playing Liszt's third Consolation at an adult piano recital. The room was very tiny hence the camera angle, ...
- published: 03 Dec 2012
- views: 22
- author: Matt Berardinelli
6:32
Jesse Davis "live" Franz Liszt Rigoletto Paraphrase
Jesse Davis gives a "live" performance of Liszt's Rigoletto Paraphrase in New Orleans, Lou...
published: 26 Dec 2012
author: Jesse Davis
Jesse Davis "live" Franz Liszt Rigoletto Paraphrase
Jesse Davis gives a "live" performance of Liszt's Rigoletto Paraphrase in New Orleans, Louisiana. This is a piano transcription of the famous quartet from th...
- published: 26 Dec 2012
- views: 269
- author: Jesse Davis
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 ...
- published: 01 Apr 2011
- views: 43294
- author: chopin4321
9:16
Franz Liszt - Ad nos ad salutarem undam - concert live Lidia Ksiazkiewicz - orgue, part 1/3
Enregistrement live d'un concert du 29.07.2012 sur le grand orgue de la cathédrale de Laon...
published: 12 Aug 2012
author: Laon Villanelle
Franz Liszt - Ad nos ad salutarem undam - concert live Lidia Ksiazkiewicz - orgue, part 1/3
Enregistrement live d'un concert du 29.07.2012 sur le grand orgue de la cathédrale de Laon (fr)
- published: 12 Aug 2012
- views: 3789
- author: Laon Villanelle
14:32
Pianista Francesco Nicolosi, Franz Liszt - Malediction for Piano and String Orchestra
Abstract Live Concert from Vilnius Piano Music Festival - November 26, 2011 Lithuanian Nat...
published: 21 Apr 2012
author: Lastanzadellerose
Pianista Francesco Nicolosi, Franz Liszt - Malediction for Piano and String Orchestra
Abstract Live Concert from Vilnius Piano Music Festival - November 26, 2011 Lithuanian National Symphony Orchestra Conductor Robertas Servenikas.
- published: 21 Apr 2012
- views: 555
- author: Lastanzadellerose
7:22
Franz Liszt - Ad nos ad salutarem undam - concert live Lidia Ksiazkiewicz - orgue, part 2/3
Enregistrement live d'un concert du 29.07.2012 sur le grand orgue de la cathédrale de Laon...
published: 13 Aug 2012
author: Laon Villanelle
Franz Liszt - Ad nos ad salutarem undam - concert live Lidia Ksiazkiewicz - orgue, part 2/3
Enregistrement live d'un concert du 29.07.2012 sur le grand orgue de la cathédrale de Laon (fr)
- published: 13 Aug 2012
- views: 1358
- author: Laon Villanelle
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 e...
- published: 09 May 2011
- views: 5949
- author: AparteTV
6:52
Colin Lee: Pace non trovo, Franz Liszt (Live)
Live at the Baxter Theatre, Cape Town Piano: Albie Van Schalkwyk....
published: 31 Jan 2012
author: TheJk1001
Colin Lee: Pace non trovo, Franz Liszt (Live)
Live at the Baxter Theatre, Cape Town Piano: Albie Van Schalkwyk.
- published: 31 Jan 2012
- views: 248
- author: TheJk1001
Vimeo results:
8:59
Little Big Berlin
directed by pilpop www.pilpop.de
edit 06.01.2013 - angeregt durch die Diskussion um Schwa...
published: 09 Aug 2010
author: pilpop
Little Big Berlin
directed by pilpop www.pilpop.de
edit 06.01.2013 - angeregt durch die Diskussion um Schwaben in Berlin - "pilpop ist Schwabe"
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
18:25
UNDER AN ALIAS
Under An Alias is the new big fairytale of nerdworking, a digital historical expression. T...
published: 11 Oct 2012
author: nerdworking
UNDER AN ALIAS
Under An Alias is the new big fairytale of nerdworking, a digital historical expression. This time our story takes place in a small German town; Weimar. The effect of a small town with the population of 65,000 people on the world concerns all of us, a city where the majority of its income is from culture. Weimar is a meeting and creation point for eminent intellectuals of our current times. This town, where Goethe wrote his masterpieces, where the music of Franz Liszt could be heard. This is where its republic of Germany was founded in 1919, whose legacy was subsequently marred by the establishment of a Nazi concentration camp in 1937. Weimar, a city that currently merges art and architecture in Bauhaus university, has many untold stories.
Although difficult, telling Weimar’s story was incredibly educational for an Istanbul based group of artists. It gave an opportunity for nerdworking illustrate a story from another perspective. Dozens of people spent long hours immersing themselves the rich cultural background, whilst taking into consideration the opinions of previous researchers. Under An Alias, created by collaboration of international artists and working completely in cyberspace, made its debut as the main act of the Genius Loci Festival.
Under An Alias was on exhibition from 10th till 12th of August on Fürstenhaus, Franz Liszt Conservatory, each night from 8PM till the early hours, several times a night. We decided that there couldn’t be anything more appropriate, than projecting the analogy onto this iconic building. The initial section is the spirit, then the muscles then the skin of this tribute to the legacy of Weimar was created. The story was based on the linear history of the city, the abstract origin slowly turned into decaying effect in the years of war. Then the exploding Bauhaus movement after the World War II is portrayed with a statement to pay homage to one of movement's greatest masters; Kandinsky. Then the story flows into the German industrial machine, healing its wounds from the diffused times with aggressive images of engineering and machinery. And finally, after all of city's turbulent history, we are waving goodbye to Weimar with its peace and order as a giant music box. We appreciate her hospitality.
Under An Alias was made by nerdworking's crew of 22 people from different disciplines architectures, new media artists, sound designers and the staff of Genius Loci Weimar. Enjoy the show, till the next fairytale.
Producer: NERDWORKING
Design and Art Direction: NOHlab (Candaş Şişman - Deniz Kader)
Motion Design and Animation Teams:
Fehmican Gözüm
Gökalp Gönen
Saygın Soher
Sinan Büyükbaş
Ouchhh
Creative Director: Ferdi Alıcı
3D Artists & Designers: Çağlar Özen, Emre Önol, Ferdi Alıcı
2D Artists & Designers: Dilan Tanrıkulu Regal, Harun Kerem Köse, Yusuf Emre Kucur
Compositing: Ferdi Alıcı
Robotika
CG Supervisor: Coşku Özdemir
3D Artists & Designers : Davut Toy, Vikram Puttanna
Sound Design: Alp Coksoyluer, Giray Gürkal, Görkem Şen
Architectural 3D Modelling: Kerem Asfuroğlu
Storyboard Artist: İsmail Anıl Güzeliş
Documentation: Cansu Turan
Project Management: NERDWORKING (Erdem Dilbaz)
Render Farm: RenderRider
Special Thanks to Gökçen Dilek Açay, İkinciParti Prodüksiyon, Stefan Kraus
contact: nerd@nerdworking.org
1:19
La Grande Bouffe
Crème brûlée and decadAns. Megalomania and Franz Liszt. A taste of food and fashion.
Par...
published: 05 Oct 2009
author: Erik Liss
La Grande Bouffe
Crème brûlée and decadAns. Megalomania and Franz Liszt. A taste of food and fashion.
Part of A shaded view on fashion film 2009
www.asvoff.com
DIR Erik Liss
Youtube results:
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...
- published: 30 Sep 2011
- views: 4041
- author: alternativecontent
2:55
Franz Liszt: Liebestraum - Live aus der Freien Bühne Wieden
Musical Highlight from the live performance of "Künstler und andere Tiere" from "Freie Büh...
published: 19 Mar 2011
author: zierotin
Franz Liszt: Liebestraum - Live aus der Freien Bühne Wieden
Musical Highlight from the live performance of "Künstler und andere Tiere" from "Freie Bühne Wieden" with Mario Schott-Zierotin (Double Bass), Bela Fischer (...
- published: 19 Mar 2011
- views: 546
- author: zierotin
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 m...
- published: 29 Mar 2011
- author: chopin4321
32:22
Franz Liszt Sonata in B minor Arcadi Volodos Live 2011
Franz Liszt Sonata in B minor Arcadi Volodos Live in Brussels 11 octobre 2011....
published: 12 Oct 2011
author: masterofsynapsis
Franz Liszt Sonata in B minor Arcadi Volodos Live 2011
Franz Liszt Sonata in B minor Arcadi Volodos Live in Brussels 11 octobre 2011.
- published: 12 Oct 2011
- views: 15374
- author: masterofsynapsis
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 of...
- published: 21 Jul 2012
- views: 34731
- author: Thanh Ngoc Nguyen
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, S...
- published: 14 Nov 2012
- views: 9470
- author: Wolfgang Amadé Mozart
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: Epic Piano
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 dedicatio...
- published: 14 Aug 2012
- views: 6117
- author: Epic Piano
63:56
Franz Liszt - 12 Etudes d'execution transcendante, S139/R2b
Jeno Jando, piano Franz Liszt - 12 Etudes d'execution transcendante, S139/R2b No. 1 in C m...
published: 12 Nov 2012
author: Wolfgang Amadé Mozart
Franz Liszt - 12 Etudes d'execution transcendante, S139/R2b
Jeno Jando, piano Franz Liszt - 12 Etudes d'execution transcendante, S139/R2b No. 1 in C major, "Preludio" 00:00:52 No. 2 in A major, "Fusees" 00:02:28 No. 3...
- published: 12 Nov 2012
- views: 1770
- author: Wolfgang Amadé Mozart
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...
- published: 11 Feb 2012
- views: 2333
- author: Alvarordonez
20:16
Franz Liszt, Piano Concerto No 1: Marek Krowicki, piano
Alexis Hauser conducts McGill Symphony Orchestra Montreal with Marek Krowicki at the piano...
published: 07 Apr 2012
author: MGSOconcerts
Franz Liszt, Piano Concerto No 1: Marek Krowicki, piano
Alexis Hauser conducts McGill Symphony Orchestra Montreal with Marek Krowicki at the piano. Performed on April 5, 2012 at Pollack Hall of Schulich School of ...
- published: 07 Apr 2012
- views: 5507
- author: MGSOconcerts
59:51
Franz Liszt : virtuoso fantastico
France Culture - LES VENDREDIS DE LA MUSIQUE n°85 du 3 juin 2011, par Jeanne-Martine Vache...
published: 22 Dec 2012
author: gabrielshare
Franz Liszt : virtuoso fantastico
France Culture - LES VENDREDIS DE LA MUSIQUE n°85 du 3 juin 2011, par Jeanne-Martine Vacher - Avec la pianiste Claire-Marie le Guay et Bruno Moisan (SR) aute...
- published: 22 Dec 2012
- views: 202
- author: gabrielshare
30:28
Sonata in B Minor by Franz Liszt
At his first Doctor of Musical Arts piano recital, Martin Leung plays Sonata in B Minor, S...
published: 15 Mar 2013
author: Video Game Pianist
Sonata in B Minor by Franz Liszt
At his first Doctor of Musical Arts piano recital, Martin Leung plays Sonata in B Minor, S. 178 by Franz Liszt. Alfred Newman Recital Hall, University of Sou...
- published: 15 Mar 2013
- views: 1871
- author: Video Game Pianist
31:22
Franz Liszt: Sonate h-Moll - Aya Matsushita
Live Mitschnitt aus dem Kammermusiksaal vom 27.10.2011 Aya Matsushita, Klavier....
published: 21 Mar 2012
author: hmtRostock
Franz Liszt: Sonate h-Moll - Aya Matsushita
Live Mitschnitt aus dem Kammermusiksaal vom 27.10.2011 Aya Matsushita, Klavier.
- published: 21 Mar 2012
- views: 3774
- author: hmtRostock
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 St...
- published: 26 Feb 2012
- author: Rodney Leinberger
30:44
Franz Liszt - Ce qu'on entend sur la montagne
Symphonic poem No. 1, inspired by the poem "Feuilles d'automne" by Victor Hugo. London Phi...
published: 17 Mar 2012
author: Kanał użytkownika FranzDestroyer
Franz Liszt - Ce qu'on entend sur la montagne
Symphonic poem No. 1, inspired by the poem "Feuilles d'automne" by Victor Hugo. London Philharmonic Orchestra, conductor: Bernard Haitink.
- published: 17 Mar 2012
- views: 3016
- author: Kanał użytkownika FranzDestroyer
27:46
Franz Liszt - Lieder von Robert Schumann
Joseph Banowetz, piano Franz Liszt - Lieder von Robert Schumann, S569/R257, Nos. 1-7 No. 3...
published: 10 Nov 2012
author: Wolfgang Amadé Mozart
Franz Liszt - Lieder von Robert Schumann
Joseph Banowetz, piano Franz Liszt - Lieder von Robert Schumann, S569/R257, Nos. 1-7 No. 3. Fruhlings Ankunft 00:01:31 No. 4. Des Sennen Abschied 00:01:49 No...
- published: 10 Nov 2012
- views: 444
- author: Wolfgang Amadé Mozart
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: 1463
- author: Tonregisseur
28:12
Gillian Weir - Franz Liszt's Fantasia and Fugue on "Ad nos, ad Salutarem undam"
The Latin exhortation "Ad nos, ad Salutarem undam" (Come to us, to the waves of salvation)...
published: 15 Apr 2012
author: organwizard
Gillian Weir - Franz Liszt's Fantasia and Fugue on "Ad nos, ad Salutarem undam"
The Latin exhortation "Ad nos, ad Salutarem undam" (Come to us, to the waves of salvation) is from Meyerbeer's opera Le Prophète. Franz Liszt uses the choral...
- published: 15 Apr 2012
- views: 6381
- author: organwizard
Vimeo results:
8:59
Little Big Berlin
directed by pilpop www.pilpop.de
edit 06.01.2013 - angeregt durch die Diskussion um Schwa...
published: 09 Aug 2010
author: pilpop
Little Big Berlin
directed by pilpop www.pilpop.de
edit 06.01.2013 - angeregt durch die Diskussion um Schwaben in Berlin - "pilpop ist Schwabe"
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
18:25
UNDER AN ALIAS
Under An Alias is the new big fairytale of nerdworking, a digital historical expression. T...
published: 11 Oct 2012
author: nerdworking
UNDER AN ALIAS
Under An Alias is the new big fairytale of nerdworking, a digital historical expression. This time our story takes place in a small German town; Weimar. The effect of a small town with the population of 65,000 people on the world concerns all of us, a city where the majority of its income is from culture. Weimar is a meeting and creation point for eminent intellectuals of our current times. This town, where Goethe wrote his masterpieces, where the music of Franz Liszt could be heard. This is where its republic of Germany was founded in 1919, whose legacy was subsequently marred by the establishment of a Nazi concentration camp in 1937. Weimar, a city that currently merges art and architecture in Bauhaus university, has many untold stories.
Although difficult, telling Weimar’s story was incredibly educational for an Istanbul based group of artists. It gave an opportunity for nerdworking illustrate a story from another perspective. Dozens of people spent long hours immersing themselves the rich cultural background, whilst taking into consideration the opinions of previous researchers. Under An Alias, created by collaboration of international artists and working completely in cyberspace, made its debut as the main act of the Genius Loci Festival.
Under An Alias was on exhibition from 10th till 12th of August on Fürstenhaus, Franz Liszt Conservatory, each night from 8PM till the early hours, several times a night. We decided that there couldn’t be anything more appropriate, than projecting the analogy onto this iconic building. The initial section is the spirit, then the muscles then the skin of this tribute to the legacy of Weimar was created. The story was based on the linear history of the city, the abstract origin slowly turned into decaying effect in the years of war. Then the exploding Bauhaus movement after the World War II is portrayed with a statement to pay homage to one of movement's greatest masters; Kandinsky. Then the story flows into the German industrial machine, healing its wounds from the diffused times with aggressive images of engineering and machinery. And finally, after all of city's turbulent history, we are waving goodbye to Weimar with its peace and order as a giant music box. We appreciate her hospitality.
Under An Alias was made by nerdworking's crew of 22 people from different disciplines architectures, new media artists, sound designers and the staff of Genius Loci Weimar. Enjoy the show, till the next fairytale.
Producer: NERDWORKING
Design and Art Direction: NOHlab (Candaş Şişman - Deniz Kader)
Motion Design and Animation Teams:
Fehmican Gözüm
Gökalp Gönen
Saygın Soher
Sinan Büyükbaş
Ouchhh
Creative Director: Ferdi Alıcı
3D Artists & Designers: Çağlar Özen, Emre Önol, Ferdi Alıcı
2D Artists & Designers: Dilan Tanrıkulu Regal, Harun Kerem Köse, Yusuf Emre Kucur
Compositing: Ferdi Alıcı
Robotika
CG Supervisor: Coşku Özdemir
3D Artists & Designers : Davut Toy, Vikram Puttanna
Sound Design: Alp Coksoyluer, Giray Gürkal, Görkem Şen
Architectural 3D Modelling: Kerem Asfuroğlu
Storyboard Artist: İsmail Anıl Güzeliş
Documentation: Cansu Turan
Project Management: NERDWORKING (Erdem Dilbaz)
Render Farm: RenderRider
Special Thanks to Gökçen Dilek Açay, İkinciParti Prodüksiyon, Stefan Kraus
contact: nerd@nerdworking.org
1:19
La Grande Bouffe
Crème brûlée and decadAns. Megalomania and Franz Liszt. A taste of food and fashion.
Par...
published: 05 Oct 2009
author: Erik Liss
La Grande Bouffe
Crème brûlée and decadAns. Megalomania and Franz Liszt. A taste of food and fashion.
Part of A shaded view on fashion film 2009
www.asvoff.com
DIR Erik Liss
Youtube results:
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 ...
- published: 10 Feb 2011
- views: 9253
- author: isispartners1
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 Lisz...
- published: 02 Nov 2011
- views: 2504
- author: hfmFRANZLISZTweimar
21:12
Franz Liszt Piano Concerto No. 2 in A Major, S. 125 | László Gyimesi
László Gyimesi plays Franz Liszt Piano Concerto No. 2 in A Major, S. 125 with Budapest Sym...
published: 14 Jan 2013
author: SrClavier
Franz Liszt Piano Concerto No. 2 in A Major, S. 125 | László Gyimesi
László Gyimesi plays Franz Liszt Piano Concerto No. 2 in A Major, S. 125 with Budapest Symphony Orchestra under Ervin Lukács. Live Recording.
- published: 14 Jan 2013
- views: 416
- author: SrClavier
40:04
CLIDAT France - Franz LISZT
I - Un sospiro 01 - Troisième caprice poétique - 00'00" (05'18") II - Deux études de conce...
published: 02 May 2013
author: Condorcet37
CLIDAT France - Franz LISZT
I - Un sospiro 01 - Troisième caprice poétique - 00'00" (05'18") II - Deux études de concert 02 - Waldesrausvhen (Murmures de la forêt) - 05'18" (03'45") 03 ...
- published: 02 May 2013
- views: 41
- author: Condorcet37
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: 2870461
- author: TheWickedNorth
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 of...
- published: 21 Jul 2012
- views: 34731
- author: Thanh Ngoc Nguyen
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 beyo...
- published: 15 Nov 2007
- views: 3832376
- 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: 696706
- author: jazzkosova
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, S...
- published: 14 Nov 2012
- views: 9470
- author: Wolfgang Amadé Mozart
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: Epic Piano
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 dedicatio...
- published: 14 Aug 2012
- views: 6117
- author: Epic Piano
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. ...
- published: 22 Oct 2011
- views: 30696
- author: Fledermaus1990
63:56
Franz Liszt - 12 Etudes d'execution transcendante, S139/R2b
Jeno Jando, piano Franz Liszt - 12 Etudes d'execution transcendante, S139/R2b No. 1 in C m...
published: 12 Nov 2012
author: Wolfgang Amadé Mozart
Franz Liszt - 12 Etudes d'execution transcendante, S139/R2b
Jeno Jando, piano Franz Liszt - 12 Etudes d'execution transcendante, S139/R2b No. 1 in C major, "Preludio" 00:00:52 No. 2 in A major, "Fusees" 00:02:28 No. 3...
- published: 12 Nov 2012
- views: 1770
- author: Wolfgang Amadé Mozart
3:29
Franz Liszt - Ein Europäer in Weimar: Interview mit Hellmut Seemann
Interview in German with Hellmut Seemann, president of the Klassik foundation, about Liszt...
published: 21 Nov 2011
author: kunst+film
Franz Liszt - Ein Europäer in Weimar: Interview mit Hellmut Seemann
Interview in German with Hellmut Seemann, president of the Klassik foundation, about Liszt's importance for Weimar. On the occasion of the exhibition "Franz ...
- published: 21 Nov 2011
- views: 144
- author: kunst+film
4:16
Sueño de amor - Franz Liszt
Sueño de amor - Franz Liszt....
published: 13 Feb 2009
author: Luis Suñer Maurel
Sueño de amor - Franz Liszt
Sueño de amor - Franz Liszt.
- published: 13 Feb 2009
- views: 1458650
- author: Luis Suñer Maurel
2:13
Liszt - ein paneuropäischer Komponist - Daniel Barenboim über Franz Liszt - Episode 1
Daniel Barenboim, Schirmherr des Liszt-Jahres 2011 von Deutsche Grammophon und Decca, hat ...
published: 25 May 2011
author: Klassik von A-Z
Liszt - ein paneuropäischer Komponist - Daniel Barenboim über Franz Liszt - Episode 1
Daniel Barenboim, Schirmherr des Liszt-Jahres 2011 von Deutsche Grammophon und Decca, hat sich in einem Interview zu Leben, Werk und Wirken von Franz Liszt g...
- published: 25 May 2011
- views: 1202
- author: Klassik von A-Z
2:30
Franz Liszt - Ein Europäer in Weimar: Interview mit Christoph Stölzl
Interview in German with Christoph Stölzl, director of the Academy of Music Franz Liszt, a...
published: 21 Nov 2011
author: wwwkunstundfilmde
Franz Liszt - Ein Europäer in Weimar: Interview mit Christoph Stölzl
Interview in German with Christoph Stölzl, director of the Academy of Music Franz Liszt, about Liszt's cultural policy. On the occasion of the exhibition "Fr...
- published: 21 Nov 2011
- views: 91
- author: wwwkunstundfilmde
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...
- published: 11 Feb 2012
- views: 2333
- author: Alvarordonez
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 hu...
- published: 05 Sep 2011
- views: 8220
- author: Milewskige
Vimeo results:
8:59
Little Big Berlin
directed by pilpop www.pilpop.de
edit 06.01.2013 - angeregt durch die Diskussion um Schwa...
published: 09 Aug 2010
author: pilpop
Little Big Berlin
directed by pilpop www.pilpop.de
edit 06.01.2013 - angeregt durch die Diskussion um Schwaben in Berlin - "pilpop ist Schwabe"
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
18:25
UNDER AN ALIAS
Under An Alias is the new big fairytale of nerdworking, a digital historical expression. T...
published: 11 Oct 2012
author: nerdworking
UNDER AN ALIAS
Under An Alias is the new big fairytale of nerdworking, a digital historical expression. This time our story takes place in a small German town; Weimar. The effect of a small town with the population of 65,000 people on the world concerns all of us, a city where the majority of its income is from culture. Weimar is a meeting and creation point for eminent intellectuals of our current times. This town, where Goethe wrote his masterpieces, where the music of Franz Liszt could be heard. This is where its republic of Germany was founded in 1919, whose legacy was subsequently marred by the establishment of a Nazi concentration camp in 1937. Weimar, a city that currently merges art and architecture in Bauhaus university, has many untold stories.
Although difficult, telling Weimar’s story was incredibly educational for an Istanbul based group of artists. It gave an opportunity for nerdworking illustrate a story from another perspective. Dozens of people spent long hours immersing themselves the rich cultural background, whilst taking into consideration the opinions of previous researchers. Under An Alias, created by collaboration of international artists and working completely in cyberspace, made its debut as the main act of the Genius Loci Festival.
Under An Alias was on exhibition from 10th till 12th of August on Fürstenhaus, Franz Liszt Conservatory, each night from 8PM till the early hours, several times a night. We decided that there couldn’t be anything more appropriate, than projecting the analogy onto this iconic building. The initial section is the spirit, then the muscles then the skin of this tribute to the legacy of Weimar was created. The story was based on the linear history of the city, the abstract origin slowly turned into decaying effect in the years of war. Then the exploding Bauhaus movement after the World War II is portrayed with a statement to pay homage to one of movement's greatest masters; Kandinsky. Then the story flows into the German industrial machine, healing its wounds from the diffused times with aggressive images of engineering and machinery. And finally, after all of city's turbulent history, we are waving goodbye to Weimar with its peace and order as a giant music box. We appreciate her hospitality.
Under An Alias was made by nerdworking's crew of 22 people from different disciplines architectures, new media artists, sound designers and the staff of Genius Loci Weimar. Enjoy the show, till the next fairytale.
Producer: NERDWORKING
Design and Art Direction: NOHlab (Candaş Şişman - Deniz Kader)
Motion Design and Animation Teams:
Fehmican Gözüm
Gökalp Gönen
Saygın Soher
Sinan Büyükbaş
Ouchhh
Creative Director: Ferdi Alıcı
3D Artists & Designers: Çağlar Özen, Emre Önol, Ferdi Alıcı
2D Artists & Designers: Dilan Tanrıkulu Regal, Harun Kerem Köse, Yusuf Emre Kucur
Compositing: Ferdi Alıcı
Robotika
CG Supervisor: Coşku Özdemir
3D Artists & Designers : Davut Toy, Vikram Puttanna
Sound Design: Alp Coksoyluer, Giray Gürkal, Görkem Şen
Architectural 3D Modelling: Kerem Asfuroğlu
Storyboard Artist: İsmail Anıl Güzeliş
Documentation: Cansu Turan
Project Management: NERDWORKING (Erdem Dilbaz)
Render Farm: RenderRider
Special Thanks to Gökçen Dilek Açay, İkinciParti Prodüksiyon, Stefan Kraus
contact: nerd@nerdworking.org
1:19
La Grande Bouffe
Crème brûlée and decadAns. Megalomania and Franz Liszt. A taste of food and fashion.
Par...
published: 05 Oct 2009
author: Erik Liss
La Grande Bouffe
Crème brûlée and decadAns. Megalomania and Franz Liszt. A taste of food and fashion.
Part of A shaded view on fashion film 2009
www.asvoff.com
DIR Erik Liss
Youtube results:
11:25
Franz Liszt - Hungarian Rhapsody n.2 with an original cadenza [Paolo Marzocchi]
Paolo Marzocchi plays Hungarian Rhapsody n° 2 by Franz Liszt with an original cadenza....
published: 16 Dec 2010
author: trillice87
Franz Liszt - Hungarian Rhapsody n.2 with an original cadenza [Paolo Marzocchi]
Paolo Marzocchi plays Hungarian Rhapsody n° 2 by Franz Liszt with an original cadenza.
- published: 16 Dec 2010
- views: 496544
- author: trillice87
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 com...
- published: 03 Jun 2011
- views: 161475
- 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, J...
- published: 24 Jan 2009
- views: 1172543
- author: Seeli Toivio
6:07
© Franz Liszt - Etude nr. 3, La Campanella - Alice Sara Ott
Franz Liszt (1811-1886) - Etude nr. 3, La Campanella (The Little Bell)([1838]+1851) - Alic...
published: 31 May 2012
author: mugge62
© Franz Liszt - Etude nr. 3, La Campanella - Alice Sara Ott
Franz Liszt (1811-1886) - Etude nr. 3, La Campanella (The Little Bell)([1838]+1851) - Alice Sara Ott - Performed in Danmarks Radio Concert Hall in 2012 © Dan...
- published: 31 May 2012
- views: 19724
- author: mugge62
photo: AP / Alexei Nikolsky
07 Jun 2013
By GREGORY L. WHITE and PAUL SONNE. MOSCOW—Russian President Vladimir Putin and his wife said Thursday they are separating after nearly three decades of marriage, setting the stage for the first divorce of a Russian leader since Peter the Great and bringing an end to years of speculation about the state of the couple's union. Enlarge Image. Close. "It was our joint decision," Mr ... Mr ... Mr ... Mrs ... Asked if they were divorcing, Mrs ... Mr ... Close. Mr ... Mrs....(size: 5.6Kb)
photo: Creative Commons
07 Jun 2013
The National Security Agency (NSA) and the Federal Bureau of Investigation (FBI) are tapping directly into the central servers of nine leading US Internet companies, The Washington Post has reported. , this has allowed investigators to examine e-mails, photos and other documents of tens of millions of Americans that can be used to track people and their contacts over time ... 468 Source.. Al Jazeera and agencies ... Iran ... ....(size: 7.7Kb)
photo: AP / Sebastian Scheiner
07 Jun 2013
The Israeli army has significantly increased its manpower on the Syrian border close to the only border crossing between the two countries, which became the scene of a battle between Syrian government and opposition fighters yesterday ... In addition to the extra military deployment, the army told local farmers to keep away from the area yesterday ... The Israeli army refused to comment on the extra deployment ... ....(size: 2.3Kb)
photo: Creative Commons / Miloš Hlávka
05 Jun 2013
By LAURA STEVENS in Frankfurt, LEOS ROUSEK in Prague and MARGIT FEHER in Budapest. Flooding in Central Europe spread Wednesday as swollen waters moved further east along the Danube River, threatening towns in eastern Austria and Slovakia's capital, Bratislava, while the rising Elbe River flooded outlying parts of Dresden in Germany ... Enlarge Image. Close ... Businesses also reported production standstills ... Rösler said at a news conference ... ....(size: 5.2Kb)
Edit
Star Telegram
07 Jun 2013
As young child growing up in Ukraine, Vadym Kholodenko wasn’t interested in the piano ... He has also impressed Fort Worth Symphony conductor Miguel Harth-Bedoya with his solo recital of Liszt’s Transcendental Etudes. “An hour later, I realized I hadn’t blinked for an entire hour with all the Liszt and to do that to me … it was amazing what he had delivered,” Harth-Bedoya said ... @andreaahles ....(size: 3.8Kb)
Edit
noodls
07 Jun 2013
(Source. Cameron University) Link Description ... The concert, which takes place on the summer solstice, will include music by Liszt, Chopin and others ... Admission is free ... Link URL ... (noodl....(size: 0.9Kb)
Edit
The Washington Post
07 Jun 2013
Clearly visible within the neat borders on a piece of paper is the word “etude,” French for study, in a detail from Georges Braque’s ebullient 1929 painting, “The Round Table.” Very likely, given Braque’s interest in music and the bourgeois domesticity he cultivated, the etude in question is a piano work by Chopin, or perhaps Liszt or Debussy ... Also present ... The Phillips Collection, Washington, D.C ... ....(size: 4.7Kb)
Edit
The Examiner
07 Jun 2013
Columbia Artist Stewart Goodyear made headlines in 2012, when he performed the complete cycle of Beethoven's Piano Sonatas in a single day; John Terauds' review of the Toronto event can be found here ... (Our June 2012 conversation with Stewart Goodyear can be found here). EH ... Goodyear ... EH ... Goodyear ... Published in 1795, these works will bridge classicism to composers like Field, Hummel and Chopin, as well as composers like Berlioz and Liszt ... 8....(size: 33.2Kb)
Edit
The Dallas Morning News
05 Jun 2013
For the most part, the choices weren’t surprising ... Kholodenko is obviously a substantive musician, but his choice of the undistinguished Rachmaninoff First Sonata and 11 of Liszt’s 12 Transcendental Études seemed misguided ... The competition could do itself a great favor by forbidding Liszt — even the substantive Sonata, which young pianists usually distort grotesquely — perhaps encouraging programming of subtler repertory ... Final round ... ....(size: 3.7Kb)
Edit
The New York Times
05 Jun 2013
This poem, one of 12 winners of our fourth annual Found Poem Student Contest, was written by Micah, 17, from Phoenix. The poem is drawn from an 1883 article headlined “Franz Liszt’s Younger Life.”. Check back every day through June 12 to read the work of another winner. The Hero of Paris. Take the infant to Paris, where composers unite,. so an audience may see the little Hercules ... and let little Liszt, Master Liszt, ... R ... .)....(size: 9.7Kb)
Edit
MediaCityUK Chosen as a New Screening Location for Free Outdoor Ballet and Opera (Peel Holdings plc)
noodls05 Jun 2013
(Source. Peel Holdings plc) MediaCityUK Chosen as a New Screening Location for Free Outdoor Ballet and Opera. Monday, 3 June 2013. MediaCityUK is delighted to announce that this year's Royal Opera House BP Big Screen performances will be beamed live from Covent Garden to the outdoor screen on the Piazza, MediaCityUK ... A dark drama of political intrigue, twisted romance and morbid obsession, set to dramatic music by Liszt ... distributed by....(size: 6.1Kb)
Edit
Star Telegram
05 Jun 2013
FORT WORTH — Van Cliburn and Liu Shih Kun were on top of the international piano world in 1958 when they came in first and second, respectively, at the inaugural Tchaikovsky competition. But when they exited the stage and returned to their home countries, their lives took very different paths ... “I just thought if I could still be alive. I thought nothing about music.” ... He played Liszt’s Liebestraum ... On Sept ... No....(size: 7.4Kb)
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The Dallas Morning News
05 Jun 2013
Vadym Kholodenko got a great roar of bravos at the end of his late Monday recital, most of which was devoted to 11 of Liszt’s 12 Transcendental Etudes ... A great artist might have made something of this ... Alessandro Deljavan ... But he managed to make Mendelssohn’s Variations sérieuses sound like Liszt, and he added nothing to the Beethoven Appassionata Sonata except increasingly loud moans and a furious rush through the final coda ... Sean Chen....(size: 4.0Kb)
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Detroit Free Press
05 Jun 2013
Tickets. Subscriptions $90-$170, single tickets $35-$45, ages 25 and younger $10. 248-559-2097. www.greatlakeschambermusic.org. ■ Related. The Great Lakes Chamber Music Festival celebrates its 20th year. OPENING NIGHT. 8 p.m. Sat. Seligman Performing Arts Center, Beverly Hills. Artists. Miriam Fried, Paul Biss, Andrés Díaz, Jonathan Biss, Pacifica Quartet. Program ... 3 p.m. Sun ... Artists ... Program ... Works by Liszt, Schuloff, Earl Wild and Gershwin....(size: 5.1Kb)
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The Dallas Morning News
04 Jun 2013
Vadym Kholodenko obviously has musical substance, but one must question his wisdom in programming the justly forgotten Rachmaninoff First Sonata and a major overdose of Liszt–11 of the 12 Transcendental Etudes, in performances more about blood and guts than any musical subtleties. Nikolay Khozyainov has real potential, but he was totally out of his depth in the Liszt Sonata ... ....(size: 1.8Kb)
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noodls
04 Jun 2013
(Source. Brandon University) June 4, 2013 ... "I was very surprised," says Jinsung, who submitted a video recording of his performance of the Liszt Transcendental Études to the judging panel ... This is a big opportunity for me." ... "Liszt initially wrote these as display items for his own formidable technique, and revised them a number of times when pianists protested how difficult the Études were." ... -30-. distributed by ... (noodl....(size: 1.9Kb)
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WPXI
04 Jun 2013
c.2013 New York Times News Service. NEW YORK — Most of what you need to know about the classical superstar Lang Lang is helpfully summed up by the biography on his official Twitter profile. “Pianist. Mentor. Lifelong Student. Traveler ... Celebrity. Showman ... As ever, you could describe much of what he did in an opening volley of Chopin and Liszt pieces as extravagant and fussy ... 18) and Liszt’s “Campanella” captivated a large, happy audience ... ....(size: 3.0Kb)
"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]
 |
Book: Franz Liszt |
| Wikipedia books are collections of articles that can be downloaded or ordered in print. | |
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 |
 |
Wikiquote has a collection of quotations related to: Franz Liszt |
 |
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 |
http://wn.com/Franz_Liszt
This page contains text from Wikipedia, the Free Encyclopedia - http://en.wikipedia.org/wiki/Franz_Liszt
This article is licensed under the Creative Commons Attribution-ShareAlike 3.0 Unported License, which means that you can copy and modify it as long as the entire work (including additions) remains under this license.
This article is licensed under the Creative Commons Attribution-ShareAlike 3.0 Unported License, which means that you can copy and modify it as long as the entire work (including additions) remains under this license.
André Laplante, OC (born Rimouski November 12, 1949) is a Canadian pianist. He received a 2004 Juno Award for the 2003 recording Concertos: Music of Jacques Hétu. He is considered to be a Franz Liszt specialist and is much associated with the music of Maurice Ravel.[1]
Laplante was awarded 3rd prizes at the inaugural edition of the Sydney Competition and the XV Long-Thibaud Competition.[1] He shared second place with French pianist Pascal Devoyon at the 1978 International Tchaikovsky Competition.[2] He made his debut at Carnegie Hall on October 21, 1978.[2]
He has received two Felix Awards for his recordings. At the award ceremonies of 2004, Laplante received a Juno Award in the category Classical Album of the Year – Large Ensemble or Soloist(s) with Large Ensemble Accompaniment for the recording Concertos: Music of Jacques Hétu.[3][4] He was awarded the Order of Canada on October 29, 2004 and invested to the Order on June 10, 2005.[5][6]
References[link]
- Citations
- ^ a b Renaud, Lucie (16 March 2005). "André Laplante—A Fine Balance". La Scène musicale. scena.org (Montréal). ISSN 1703-8189. http://www.scena.org/lsm/sm10-6/andre-laplante-en.htm. Retrieved 4 January 2012.
- ^ a b Willis, Stephen; Nygaard King, Betty. "André Laplante". The Encyclopedia of Music in Canada. The Historica Dominion Institute. http://www.thecanadianencyclopedia.com/index.cfm?PgNm=TCE&Params=U1SEC889710. Retrieved 4 January 2012.
- ^ "Juno Awards Database". junoawards.ca. Canadian Academy of Recording Arts and Sciences. http://junoawards.ca/awards/artist-summary/?artist_name=Andr%C3%A9+Laplante&submit=Search. Retrieved 4 January 2012.
- ^ ""La musique de Jacques Hétu" (sound recording)", collectionscanada.gc.ca (Ottawa: Library and Archives Canada), OCLC 594214871, AMICUS No. 23167432, http://collectionscanada.gc.ca/ourl/res.php?url_ver=Z39.88-2004&url_tim=2012-01-04T03%3A42%3A12Z&url_ctx_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Actx&rft_dat=23167432&rfr_id=info%3Asid%2Fcollectionscanada.gc.ca%3Aamicus&lang=eng, retrieved 4 January 2012
- ^ The Right Honourable Adrienne Louise Clarkson (26 March 2005). "Canada Gazette Part I, Vol. 139, No. 13" (PDF). gazette.gc.ca. Ottawa: Governor General of Canada. Canada Gazette. Government House. p. 4 (904 Canada Gazette). http://gazette.gc.ca/archives/p1/2005/2005-03-26/pdf/g1-13913.pdf. Retrieved 4 January 2012.
- ^ Governor General of Canada. "André Laplante, O.C., M.Mus.". gg.ca. Ottawa: Queen's Printer for Canada. http://www.gg.ca/honour.aspx?id=9299&t=12&ln=Laplante. Retrieved 4 January 2012.
| Persondata | |
|---|---|
| Name | Laplante, André |
| Alternative names | |
| Short description | Canadian classical pianist |
| Date of birth | November 12, 1949 |
| Place of birth | Rimouski, Quebec, Canada |
| Date of death | |
| Place of death | |
 |
This article about a Canadian classical musician is a stub. You can help Wikipedia by expanding it. |
 |
This article on a classical pianist is a stub. You can help Wikipedia by expanding it. |
http://wn.com/André_Laplante
This page contains text from Wikipedia, the Free Encyclopedia - http://en.wikipedia.org/wiki/André_Laplante
This article is licensed under the Creative Commons Attribution-ShareAlike 3.0 Unported License, which means that you can copy and modify it as long as the entire work (including additions) remains under this license.
This article is licensed under the Creative Commons Attribution-ShareAlike 3.0 Unported License, which means that you can copy and modify it as long as the entire work (including additions) remains under this license.
Claudio Arrau León (February 6, 1903 – June 9, 1991) was a Chilean-American pianist known for his interpretations of a vast repertoire spanning from the baroque to 20th-century composers, especially Beethoven, Schubert, Chopin, Schumann, Liszt, Brahms and Debussy. He is widely considered one of the greatest pianists of the twentieth century.
Contents |
Life and early career[link]
Arrau was born in Chillán, Chile, the son of Carlos Arrau, an ophthalmologist who died when Claudio was only a year old, and Lucrecia León Bravo de Villalba, a piano teacher. He belonged to an old, prominent family of Southern Chile. His ancestor Lorenzo de Arrau, a Spanish engineer, was sent to Chile by King Carlos III of Spain. Through his great-grandmother, María del Carmen Daroch del Solar, Arrau was a descendant of the Campbells of Glenorchy, a Scottish noble family.[citation needed]
Arrau was a child prodigy, giving his first concert at age five. When he was 6 he auditioned in front of several congressmen and President Pedro Montt, who became so impressed as to start arrangements for his future education. At age 8 he was sent on a 10-year long grant from the Chilean government to study in Germany, travelling in the company of his mother and sister Lucrecia. He was admitted at the Stern Conservatory of Berlin where he eventually became a pupil of Martin Krause, who had studied under Franz Liszt. At the age of 11 he could play Liszt's Transcendental Etudes, considered to be one of the most difficult sets of works ever written for the piano, and also Brahms's Paganini Variations. Arrau's first recordings were made on Aeolian Duo-Art player piano music rolls. Krause died after five years of teaching Arrau, who at fifteen was devastated at the loss of his mentor.
In 1937, Arrau married the mezzo-soprano Ruth Schneider, a German national, and they had three children: Carmen (1938–2006), Mario (1940–1988) and Christopher (1959). In 1941 the Arrau family left Germany and migrated to the United States, where they spent their remaining years. He settled in New York City and later adopted dual U.S./Chilean citizenship, in 1979.
Arrau was born and raised as a Roman Catholic. By his own admission, he was especially devout in his teenage years, having been encouraged by a French Catholic priest that he liked. He later became an agnostic, having become disgusted with the idea of transubstantiation, which he compared to cannibalism.[citation needed]
Tone and approach to music[link]
Many claim that his rich, weighty tone lent his interpretations an authoritative, distinctive voice, some saying it sounded thick and muddy and others praising its rounded tone, saying it sounded as though Arrau were almost playing the organ or "plowing" his "paws" into the "flexible" keyboard. According to American critic Harold C. Schonberg, Arrau always put "a decidedly romantic piano tone in his interpretations".[1]
Arrau was an intellectual and a deeply reflective interpreter. He read widely while travelling, and despite the lack of any formal education outside of his musical training, he learned English, Italian, German, and French in addition to his native Spanish. He became familiar with Jung's psychology in his twenties.[2]
Arrau's attitude toward music was very serious. He preached fidelity to the score. Although he often played with slower and more deliberate tempi from his middle age, Arrau had a reputation for being a fabulous virtuoso early in his career. According to Joseph Horowitz in his book Conversations With Arrau (1982), many critics felt that his overall approach became less spontaneous and more reserved and introspective after the death of his mother, to whom he was extremely close. Arrau had isolated himself for two weeks after his mother's death, refusing to perform or to receive comfort from friends.
Contributions[link]
Numerous pianists studied with Arrau, including Karlrobert Kreiten, Garrick Ohlsson, William Melton, Roberto Bravo, and Roberto Eyzaguirre among others.
Arrau recorded the comprehensive piano music of Schumann. He edited Beethoven's piano sonatas for the Peters Urtext edition and recorded all of them on the Philips label in 1962-1966. He recorded almost all of them once again after 1984. He is also famous for his recordings of Schubert, Chopin, Liszt, Brahms and Debussy, among others.
Notable recordings:
- Bach: Goldberg Variations
- Beethoven: Piano Concertos (he recorded them three times) & Piano Sonatas
- Weber: Piano Sonata No. 1 & Konzertstück, Op. 79
- Schubert: Piano Sonata, D. 958 & Klavierstücke, D. 946
- Chopin: Nocturnes & Piano Concertos
- Schumann: Carnaval & Fantasia in C
- Liszt: Sonata in B minor & Transcendental Études
- Brahms: Piano Concertos (he recorded them twice) & Piano Sonatas No. 2 and 3
- Debussy: Preludes
- Schoenberg: Piano Pieces, Op. 11.
At the time of his death at age 88 in Mürzzuschlag, Austria in the midst of a European concert tour, Arrau was working on a recording of the complete works of Bach for keyboard, and had Haydn, Mendelssohn, Reger, Busoni and Boulez's 3rd Sonata in preparation. His remains were interred in his native city of Chillán, Chile.
The Robert Schumann Society established the Arrau Medal in 1991. It has been awarded to András Schiff, Martha Argerich and Murray Perahia.
Awards and recognitions[link]
- 2012:
Voted into the Gramophone Hall of Fame[3]
- 1990:
Gold Medal of The Royal Philharmonic Society
- 1988:
La Medalla Teresa Carreño of Venezuela
Honorary Member of The Royal Philharmonic Society
- 1984:
The Highest Distinction Award from the Inter-American Music Council and the Organization of American States
Doctor Honoris Causa of Universidad de Concepción
Professor Honoris Causa of Universidad de Bío-Bío
- 1983:
The International UNESCO Music Prize
National de la Légion d'honneur of France
National Prize of Art of Chile
First Honorary Member of The Robert Schumann Society
Doctor Honoris Causa of University of Oxford
Commandatore da Accademia Nazionale di Santa Cecilia
Knighthood from the Order of Malta
Beethoven Medal of New York
Philadelphia Bowl of Philadelphia
- 1982:
La Orden del Águila Azteca of Mexico
- 1980:
Hans von Bülow Medal of the Berlin Philharmonic Orchestra
- 1970:
Großes Bundesverdienstkreuz of the Federal Republic of Germany
- 1968:
Homage from the Berlin Philharmonic Orchestra. Kurt Westphal, on behalf of the orchestra, called him "heir to the throne of Gieseking and Busoni".
- 1965:
Chevalier of Ordre des Arts et des Lettres of France
Presented with 'The Mask of Chopin' & Chopin's manuscripts
- 1959:
Santiago's Honorary Citizen
Concepción's Honorary Citizen and City Gold Medal
Hijo Benemérito de Chillán
Chillán's hitherto Lumaco Street was named after Claudio Arrau
- 1958:
The Medal of The Royal Philharmonic Society
- 1949:
Hijo Predilecto de México
Doctor Honoris Causa of University of Chile
- 1941:
Hijo Ilustre de Chillán
- 1927:
Winner of the Grand Prix of the Concours International des Pianistes Geneva. The jury was composed by Arthur Rubinstein, Joseph Pembauer, Ernest Schelling, Alfred Cortot and José Vianna da Motta.[4] Cortot exclaimed: "Cela c'est un pianiste. C'est merveilleux"
- 1925:
Honour Prize of the Stern Conservatory, becoming Professor
- 1919 & 1920:
Liszt Prize (after 45 years without a first place winner)
- 1918:
Schulhoff Prize
End of studies at the Stern Conservatory, receiving an "Exceptional Diploma"
- 1917:
Sachsen-Gothaische Medaille
- 1916:
Grant of the Stern Conservatory
- 1915:
First Prize in the Rudolph Ibach Competition (he was the only participating boy)
- 1915:
Gustav Holländer Medal for young artists
- 1911:
Grant of the Chilean Congress for musical studies in Berlin
Album Prizes[link]
- Deutscher Schallplattenpreis:
Brahms 2 Piano Concertos with Carlo Maria Giulini and Philharmonia Orchestra [EMI Recorded in 1960 & 1962]
Beethoven 5 Piano Concertos with Bernard Haitink and Concertgebouw Orchestra [Philips Recorded in 1964]
Schumann Sonate Op.11, Fantasiestücke Op.111 [Philips Recorded in 1967 & 1968]
Brahms 2 Piano Concertos with Bernard Haitink and Concertgebouw Orchestra [Philips Recorded in 1969]
- Liszt Record Grand Prix:
Liszt Complete Concert Paraphrases on Operas by Verdi [Philips Recorded in 1971]
Liszt 12 Etudes d'exécution Transcendente [Philips Recorded in 1974 & 1976]
Liszt 2 Piano Concertos with Sir Colin Davis and London Symphony Orchestra [Philips Recorded in 1979]
- Diapason d'Or:
Chopin Complete Nocturnes [Philips Recorded in 1977 & 1978]
Chopin Complete Etudes [EMI Recorded in 1956, Remastered in 1987]
- Grand Prix du Disque:
Chopin Complete Etudes [EMI Recorded in 1956, Remastered in 1987]
Schumann Piano Concerto, Carnaval & Beethoven Sonata Op.111 [EMI Filmed in 1963, 1961 & 1970]
- Edison Award:
Liszt Solo Piano Works: Ballade No.2, Jeux d'eaux à la villa d'Este, Vallée d'Obermann…… [Philips Recorded in 1969]
- Belgium Caecilia Award:
Schumann Comprehensive Solo Piano Works [Philips Recorded from 1966 to 1976]
- Japan Record Academy Award:
Beethoven 5 Piano Concertos with Sir Colin Davis and Staatskapelle Dresden [Philips Recorded in 1984 & 1987]
- FFFF de Télérama:
Chopin Complete Etudes [EMI Recorded in 1956, Remastered in 1987]
- Warsaw Chopin Society's Grand Prix du Disque Frédéric Chopin:
Chopin Complete Etudes [EMI Recorded in 1956, Remastered in 1987]
Quotes[link]
 |
This section is a candidate to be copied to Wikiquote using the Transwiki process. |
- An interpreter must give his blood to the work interpreted. — Claudio Arrau
- Since in music we deal with notes, not words, with chords, with transitions, with color and expression, the musical meaning always based on those notes as written and nothing else - has to be divined. Therefore any musician, no matter how great an instrumentalist, who is not also an interpreter of a divinatory order, the way Furtwängler was, or Fischer-Dieskau is, is somehow one-sided, somehow without spiritual grandeur. — Claudio Arrau
References[link]
- ^ Harold C. Schonberg, The Great Pianists from Mozart to the Present, Simon & Schuster, Second Edition (1987)
- ^ Horowitz, J. (1999), Arrau on music and performance. Courier Dover Publications.
- ^ "Claudio Arrau (pianist)". Gramophone. http://www.gramophone.co.uk/HallofFame/ArtistPage/Arrau. Retrieved 11 April 2012.
- ^ Sachs, H., & Manildi, D.: Rubinstein: a life, page 379. Grove Press, 1995.
External links[link]
- ArrauHouse. Comprehensive website on Claudio Arrau
- Biographical sketch for Claudio Arrau
- Discographie, repertoire et informations
- Remembering Claudio Arrau on the tenth anniversary of his passing from Unitel
- Decca & Philips' Biography and Discography of Claudio Arrau
- Marston Records' Biography of Claudio Arrau
- Biography of Claudio Arrau from Answers.com
- A comprehensive discography (French)
- Biography of Claudio Arrau (Spanish)
- Pianist Claudio.com
- Biography of Claudio Arrau (Spanish)
- Article of Claudio Arrau from Encyclopædia Britannica Online
- Article of Claudio Arrau from BBC Radio 3
- Profile for Claudio Arrau León on Find-A-Grave
- Arrau's Museum
| Persondata | |
|---|---|
| Name | Arrau, Claudio |
| Alternative names | |
| Short description | |
| Date of birth | 1903 |
| Place of birth | |
| Date of death | 1991 |
| Place of death | |
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This article is licensed under the Creative Commons Attribution-ShareAlike 3.0 Unported License, which means that you can copy and modify it as long as the entire work (including additions) remains under this license.
Vladimir Horowitz
Vladimir Samoylovich Horowitz (Russian: Владимир Самойлович Горовиц, Vladimir Samojlovich Gorovitz) (October 1 [O.S. September 18] 1903 – November 5, 1989)[1] was a Russian-born American classical pianist and composer.[2] His technique and use of tone color and the excitement of his playing were legendary.[3] He is widely considered one of the greatest pianists of the 20th century.[4]
Contents |
Life and early career[link]
Vladimir Horowitz was born in Kiev[5] in the Russian Empire (now the capital of Ukraine). There are unsubstantiated claims that Horowitz was born in Berdychiv; however, his birth certificate unequivocally states Kiev as his birthplace.[6]
Horowitz was the youngest of four children of Samuil Horowitz and Sophia Bodik, who were assimilated Jews. Samuil was a well-to-do electrical engineer and a distributor of electric motors for German manufacturers. Horowitz's grandfather Joachim was a merchant (and an arts-supporter), belonging to the 1st Guild. This status gave exemption from having to reside in the Pale of Settlement. Horowitz was born in 1903, but in order to make him appear too young for military service so as not to risk damaging his hands, his father took a year off his son's age by claiming he was born in 1904. The 1904 date appeared in many reference works during the pianist's lifetime.
Horowitz received piano instruction from an early age, initially from his mother, who was herself a pianist. In 1912 he entered the Kiev Conservatory, where he was taught by Vladimir Puchalsky, Sergei Tarnowsky, and Felix Blumenfeld. His first solo recital was in Kharkiv in 1920.
Horowitz's fame grew, and he soon began to tour Russia where he was often paid with bread, butter and chocolate rather than money, due to the country's economic hardships caused by the Civil War.[7] During the 1922–1923 season, he performed 23 concerts of eleven different programs in Petrograd alone.[7] Despite his early success as a pianist, Horowitz maintained that he wanted to be a composer, and undertook a career as a pianist only to help his family, who had lost their possessions in the Russian Revolution.[8]
In December 1925, Horowitz crossed the border into the West, ostensibly to study with Artur Schnabel. Privately intending not to return, the pianist had stuffed American dollars and British pound notes into his shoes to finance his initial concerts.[9]
Career in the West[link]
On December 18, 1925, Horowitz made his first appearance outside his home country, in Berlin.[10] He later played in Paris, London and New York City. Horowitz was selected by Soviet authorities to represent Ukraine in the inaugural 1927 International Chopin Piano Competition: however the pianist had decided to stay in the West and thus did not participate.[11]
Horowitz gave his United States debut on January 12, 1928, in Carnegie Hall. He played Tchaikovsky's Piano Concerto No. 1 under the direction of Sir Thomas Beecham, who was also making his U.S. debut. Horowitz later commented that he and Beecham had divergent ideas regarding tempos, and that Beecham was conducting the score "from memory and he didn't know" the piece.[12] Horowitz's success with the audience was phenomenal. Olin Downes, writing for the New York Times, was critical about the metric tug of war between conductor and soloist, but Downes credited the pianist with both a beautiful singing tone in the second movement and a tremendous technique in the finale, referring to Horowitz's playing as a "tornado unleashed from the steppes".[13] In this debut performance, Horowitz demonstrated a marked ability to excite his audience, an ability he maintained for his entire career. As Downes commented, "it has been years since a pianist created such a furor with an audience in this city." In his review of Horowitz's solo recital, Downes characterized the pianist's playing as showing "most if not all the traits of a great interpreter."[14] In 1933, he played for the first time with the conductor Arturo Toscanini in a performance of Beethoven's Piano Concerto No. 5 Emperor. Horowitz and Toscanini went on to perform together many times, on stage and in recordings. Horowitz settled in the U. S. in 1939, and became an American citizen in 1944.[15]
Despite rapturous receptions at recitals, Horowitz became increasingly unsure of his abilities as a pianist. On several occasions, the pianist had to be pushed onto the stage.[7] Several times, he withdrew from public performances - during 1936 to 1938, 1953 to 1965, 1969 to 1974, and 1983 to 1985. He made his television debut in a concert taped at Carnegie Hall on February 1, 1968, and broadcast nationwide by CBS on September 22nd of that year.
Recordings[link]
See also: Vladimir Horowitz discography
In 1926, Horowitz performed on several piano rolls at the Welte-Mignon studios in Freiburg, Germany. His first gramophone recordings were made in the United States in 1928 for RCA Victor. Because of the economic impact of the Great Depression, RCA Victor agreed to allow its recording artists' European-produced recordings to be made by His Master's Voice, RCA's London based affiliate. Horowitz's first European recording, in 1930, was of Rachmaninoff's Piano Concerto No. 3 with Albert Coates and the London Symphony Orchestra, the world premiere recording of that piece. Through 1936, Horowitz continued to make recordings for HMV of solo piano repertoire, including his famous 1932 account of Liszt's Sonata in B minor. Beginning in 1940, Horowitz's recording activity was again concentrated in the US. That year, he recorded Brahms Piano Concerto No. 2, and in 1941, the Tchaikovsky Piano Concerto No. 1, both with the NBC Symphony Orchestra under Toscanini. In 1959, RCA issued the live 1943 performance of the Tchaikovsky concerto with Horowitz and Toscanini; it is generally considered superior to the commercial recording, and it was selected for the Grammy Hall of Fame. During Horowitz's second retirement, which began in 1953, he made a series of recordings in his New York townhouse, including LPs of Scriabin and Clementi. Horowitz's first stereo recording, made in 1959, was devoted to Beethoven piano sonatas.
In 1962, Horowitz embarked on a series of acclaimed recordings for Columbia Records. The most famous are his 1965 return concert at Carnegie Hall and a 1968 recording from his television special, Vladimir Horowitz: a Concert at Carnegie Hall, televised by CBS. Horowitz continued making studio recordings, including a 1969 recording of Schumann's Kreisleriana, which was awarded the Prix Mondial du Disque.
In 1975, Horowitz returned to RCA and made live recordings until 1982. He signed with Deutsche Grammophon in 1985, and made studio and live recordings until 1989, including his only recording of Mozart's Piano Concerto No. 23. Four filmed documents were made during this time, including the telecast of his April 20, 1986 Moscow recital. His final recording, for Sony Classical, was completed four days before his death and consisted of repertoire he had never previously recorded.[16]
All of Horowitz's recordings have been issued on compact disc, some several times. In the years following Horowitz’s death, CDs were issued containing previously unreleased material. These included selections from Carnegie Hall recitals recorded privately for Horowitz from 1945–1951.[17]
Students[link]
Horowitz taught six students between 1944 and 1962: Byron Janis (1944-1948), Gary Graffman (1953–1955), Coleman Blumfield (1956–1958), Ronald Turini (1957–1963), Alexander Fiorillo (1960–1962) and Ivan Davis (1961–1962).[18] Janis described his relationship to Horowitz during that period as a surrogate son, and he often traveled with Horowitz and his wife during concert tours. Davis was invited to become one of Horowitz's students after receiving a call from him the day after he won the Franz Liszt Competition.[19] At the time, Davis had a contract with CBS Records and a national tour planned.[19] Horowitz claimed that he had only taught three students during that period. "Many young people say they have been pupils of Horowitz, but there were only three. Janis, Turini, who I brought to the stage, and Graffman. If someone else claims it, it's not true. I had some who played for me for four months. Once a week. I stopped work with them, because they did not progress."[20] According to biographer Glenn Plaskin, "The fact that Horowitz disavowed most of his students and blurred the facts regarding their periods of study says something about the erratic nature of his personality during that period".[20] Horowitz returned to coaching in the 1980s, working with Murray Perahia, who already had an established career, and Eduardus Halim.
Personal life[link]
In 1933, in a civil ceremony, Horowitz married Toscanini's daughter Wanda. Although Horowitz was Jewish and Wanda Catholic, this was not an issue, as neither was observant. As Wanda knew no Russian and Horowitz knew very little Italian, their primary language became French. They had one child, Sonia Toscanini Horowitz (1934–1975). It has never been determined whether her death, from a drug overdose, was accidental or a suicide.[1]
Despite his marriage, there were persistent rumors of Horowitz's homosexuality.[7] Arthur Rubinstein said of Horowitz that "Everyone knew and accepted him as a homosexual."[21] David Dubal wrote that in his years with Horowitz, there was no evidence that the octogenarian was sexually active, but that "there was no doubt he was powerfully attracted to the male body and was most likely often sexually frustrated throughout his life."[22] Dubal observed that Horowitz sublimated a strong instinctual sexuality into a powerful erotic undercurrent which was communicated in his piano playing.[23] Horowitz, who denied being homosexual,[24] once joked "There are three kinds of pianists: Jewish pianists, homosexual pianists, and bad pianists."[25]
In the 1940s, Horowitz began seeing a psychiatrist. According to sources, this was an attempt to alter his sexual orientation.[26][27] In the 1960s and again in the 1970s, the pianist underwent electroshock treatment for depression.[28]
In 1982, Horowitz began using prescribed anti-depressant medications; there are reports that he was drinking alcohol as well.[1] Consequently, his playing underwent a perceptible decline during this period.[1] The pianist’s 1983 performances in the United States and Japan were marred by memory lapses and a loss of physical control. (At the latter, one Japanese critic likened Horowitz to a "precious antique vase that is cracked.") He stopped playing in public for the next two years.
The last years[link]
By 1985, Horowitz, no longer taking medication or drinking alcohol, returned to concertizing and recording and was back on form. His first post-retirement appearance was not on stage, but in the documentary film Vladimir Horowitz: The Last Romantic. In many of his later performances, the octogenarian pianist substituted finesse and coloration for bravura, although he was still capable of remarkable technical feats. Many critics, including Harold C. Schonberg and Richard Dyer, felt that his post-1985 performances and recordings were the best of his later years.
In 1986, Horowitz announced that he would return to the Soviet Union for the first time since 1925 to give recitals in Moscow and Leningrad. In the new atmosphere of communication and understanding between the USSR and the USA, these concerts were seen as events of political, as well as musical, significance. Most of the tickets for the Moscow concert were reserved for the Soviet elite and few sold to the general public. This resulted in a number of Moscow Conservatory students crashing the concert,[29] which was audible to viewers of the internationally televised recital. The Moscow concert, was released on a compact disc entitled Horowitz in Moscow, which reigned at the top of Billboard's Classical music charts for over a year. It was also released on VHS and, eventually, DVD. The concert was also widely seen on a Special Edition of CBS News Sunday Morning with Charles Kuralt, reporting from Moscow.
Following the Russian concerts, Horowitz toured several European cities including Berlin, Amsterdam, and London. In June, Horowitz redeemed himself to the Japanese with a trio of well received performances in Tokyo. Later that year, he was awarded the Presidential Medal of Freedom, the highest civilian honor bestowed by the United States, by President Ronald Reagan.
Horowitz's final tour took place in Europe in the spring of 1987. A video recording of one of his last public recitals, Horowitz in Vienna, was released in 1991. His final recital, in Hamburg, Germany, took place on June 21, 1987. He continued to record for the remainder of his life.
Vladimir Horowitz died on November 5, 1989 in New York of a heart attack, aged 86. He was buried in the Toscanini family tomb in the Cimitero Monumentale, Milan, Italy.
Repertoire, technique and performance style[link]
Horowitz is best known for his performances of the Romantic piano repertoire. Many [30] consider Horowitz's first recording of the Liszt Sonata in 1932 to be the definitive reading of that piece, after over 75 years and over 100 performances committed to disc by other pianists.[31] Other pieces with which he was closely associated were Scriabin's Étude in D-sharp minor, Chopin's Ballade No. 1 in G minor, and many Rachmaninoff miniatures, including Polka de W.R.. Horowitz was acclaimed for his recordings of the Rachmaninoff Piano Concerto No. 3, and his performance before Rachmaninoff awed the composer, who proclaimed "he swallowed it whole. He had the courage, the intensity, the daring." Horowitz was known for his performances of quieter, more intimate works including Schumann's Kinderszenen, Scarlatti sonatas, and several Mozart and Haydn sonatas.
During World War II, Horowitz championed contemporary Russian music, giving the American premieres of Prokofiev's Piano Sonatas Nos. 6, 7 and 8 (the so-called "War Sonatas") and Kabalevsky's Piano Sonatas Nos. 2 and 3. Horowitz also premiered the Piano Sonata and Excursions of Samuel Barber.
He was known for his transcriptions of several of Liszt's Hungarian Rhapsodies. The Second Rhapsody was recorded in 1953, during Horowitz's 25th anniversary concert at Carnegie Hall, and he stated that it was the most difficult of his transcriptions.[1] Horowitz's other transcriptions of note include his composition Variations on a Theme from Carmen and Stars and Stripes Forever by John Philip Sousa. The latter became a favorite with audiences, who would anticipate its performance as an encore. Transcriptions aside, Horowitz was not opposed to altering the text of compositions to improve what he considered “unpianistic” writing or structural clumsiness. In 1940, with the composer’s consent, Horowitz created his own performance edition of Rachmaninoff’s Second Piano Sonata from the 1913 original and 1931 revised versions, which pianists including Ruth Laredo and Hélène Grimaud[32] subsequently used. He substantially rewrote Mussorgsky's Pictures at an Exhibition to make the work more effective on the grounds that Mussorgsky was not a pianist and did not understand the possibilities of the instrument. Horowitz altered short passages in certain works, such as substituting interlocking octaves for chromatic scales in Chopin’s Scherzo in B minor. This was in marked contrast to many pianists of the post–19th-century era, who considered the composer’s text sacrosanct. Living composers whose works Horowitz played (among them Rachmaninoff, Prokofiev, and Poulenc) invariably praised Horowitz's performances of their work - even when he did take liberties with their scores.
Horowitz's interpretations were well received by concert audiences, but not by some critics. Virgil Thomson was famous for his consistent criticism of Horowitz as a "master of distortion and exaggeration" in his reviews appearing in the New York Herald Tribune. Horowitz claimed to take Thomson's remarks as complimentary, stating that Michelangelo and El Greco were also "masters of distortion."[33] In the 1980 edition of Grove's Dictionary of Music and Musicians, Michael Steinberg wrote that Horowitz "illustrates that an astounding instrumental gift carries no guarantee about musical understanding." New York Times music critic Harold C. Schonberg countered that reviewers such as Thomson and Steinberg were unfamiliar with 19th-century performance practices that informed Horowitz's musical approach. In addition, many pianists, amongst them Shura Cherkassky, Earl Wild, Lazar Berman, John Browning, Van Cliburn, Maurizio Pollini, Murray Perahia, Yefim Bronfman, and Horacio Gutiérrez held Horowitz in high regard and expressed their admiration for him. [34][35]
Horowitz's performing style frequently involved vast dynamic contrasts, with overwhelming double-fortissimos followed by sudden delicate pianissimos. He was able to produce an extraordinary volume of sound from the piano, without producing a harsh tone. Horowitz could elicit an exceptionally wide range of tonal color from the piano, and his taut, precise attack was noticeable even in his renditions of technically undemanding pieces such as the Chopin Mazurkas. He is known for his octave technique; he could play precise passages in octaves extraordinarily fast. When asked by the pianist Tedd Joselson how he practiced octaves, Horowitz gave a demonstration and Joselson reported, "He practiced them exactly as we were all taught to do."[1] Music critic and biographer Harvey Sachs submitted that Horowitz may have been "the beneficiary - and perhaps also the victim - of an extraordinary central nervous system and an equally great sensitivity to tone color."[36] Oscar Levant, in his book, "The Memoirs of an Amnesiac," wrote that Horowitz's octaves were "brilliant, accurate and etched out like bullets." He asked Horowitz, "whether he shipped them ahead or carried them with him on tour."
Horowitz's hand position was unusual in that the palm was often below the level of the key surface. He frequently played chords with straight fingers, and the little finger of his right hand was often curled up until it needed to play a note; to Harold C. Schonberg, “it was like a strike of a cobra.”[1] For all the aural excitement of his playing, Horowitz rarely raised his hands higher than the piano's fallboard. His body was immobile, and his face seldom reflected anything other than intense concentration.
Horowitz preferred performing on Sunday afternoons, as he felt the audience would be more well-rested and attentive than during a weekday evening.
Awards and recognitions[link]
- 1968 Horowitz in Concert: Haydn, Schumann, Scriabin, Debussy, Mozart, Chopin (Columbia 45572)
- 1969 Horowitz on Television: Chopin, Scriabin, Scarlatti, Horowitz (Columbia 7106)
- 1987 Horowitz: The Studio Recordings, New York 1985 (Deutsche Grammophon 419217)
Grammy Award for Best Instrumental Soloist(s) Performance (with orchestra)
- 1979 Golden Jubilee Concert, Rachmaninoff: Piano Concerto No. 3 (RCA CLR1 2633)
- 1989 Horowitz Plays Mozart: Piano Concerto No. 23 (Deutsche Grammophon 423287)
Grammy Award for Best Instrumental Soloist Performance (without orchestra)
- 1963 Columbia Records Presents Vladimir Horowitz
- 1964 The Sound of Horowitz
- 1965 Vladimir Horowitz plays Beethoven, Debussy, Chopin
- 1966 Horowitz at Carnegie Hall - An Historic Return
- 1972 Horowitz Plays Rachmaninoff (Etudes-Tableaux Piano Music; Sonatas) (Columbia M-30464)
- 1973 Horowitz Plays Chopin (Columbia M-30643)
- 1974 Horowitz Plays Scriabin (Columbia M-31620)
- 1977 The Horowitz Concerts 1975/76 (RCA ARL1-1766)
- 1979 The Horowitz Concerts 1977/78 (RCA ARL1-2548)
- 1980 The Horowitz Concerts 1978/79 (RCA ARL1-3433)
- 1982 The Horowitz Concerts 1979/80 (RCA ARL1-3775)
- 1988 Horowitz in Moscow (Deutsche Grammophon 419499)
- 1991 The Last Recording (Sony SK 45818)
- 1993 Horowitz Discovered Treasures: Chopin, Liszt, Scarlatti, Scriabin, Clementi (Sony 48093)
Grammy Award for Best Classical Album:
- 1963 Columbia Records Presents Vladimir Horowitz
- 1966 Horowitz at Carnegie Hall: An Historic Return
- 1972 Horowitz Plays Rachmaninoff (Etudes-Tableaux Piano Music; Sonatas)
- 1978 Concert of the Century with Leonard Bernstein (conductor), the New York Philharmonic, Dietrich Fischer-Dieskau, Vladimir Horowitz, Yehudi Menuhin, Mstislav Rostropovich, Isaac Stern, Lyndon Woodside
- 1987 Horowitz: The Studio Recordings, New York 1985 (Deutsche Grammophon 419217)
- 1988 Horowitz in Moscow (Deutsche Grammophon 419499)
Grammy Lifetime Achievement Award, 1990
Prix Mondial du Disque
- 1970 Kreisleriana
Miscellaneous awards
- 1972 - Honorary Member of the Royal Academy of Music (London)[37]
- 1982 - Wolf Foundation Prize for Music
- 1985 - Legion of Honor from the French Government
- 1985 - Order of Merit of the Italian Republic
- 1986 - United States Presidential Medal of Freedom
- 1988 - National Bow Tie League List of 10 Best Bow Tie Wearers of 1988[38]
- 2012 - Gramophone Hall of Fame entrant[39]
References[link]
- ^ a b c d e f g Schonberg, 1992
- ^ "Vladimir Horowitz". Encyclopaedia Britannica Online. http://www.britannica.com/EBchecked/topic/272128/Vladimir-Horowitz.
- ^ Dubal, 1989
- ^ Time. Michael Walsh, The Greatest Pianist of All?, July 21, 2008. Retrieved on June 3, 2009.
- ^ J. Silberman, J. Smilyanskaya. "Kiev Symphony Vladimir Horowitz
- ^ "Полновластный король, вечный странник-артист…" (in Russian). Interesting Kiev. Interesniy.kiev.ua. 27 September – 3 October 2003. http://www.interesniy.kiev.ua/znamenitye-kievlyane/lyudi-iskusstva/vladimir-gorovits/polnovlastniy-korol-vechniy-strannik-artist. Retrieved 2011-12-30. (Title translation: "Sovereign king, an eternal wanderer-artist...")
- ^ a b c d Plaskin, 1983, pp. 52, 56, 353, 338–7.
- ^ Holland, Bernard (November 6, 1989). "Vladimir Horowitz, Titan of the Piano, Dies". The New York Times. http://www.nytimes.com/1989/11/06/obituaries/vladimir-horowitz-titan-of-the-piano-dies.html. Retrieved 2010-03-18.
- ^ Horowitz interview with Charles Kuralt, CBS News Sunday Morning
- ^ Biography. Horowitz Berlin. (Subscription required)
- ^ Moshevich, Sofia (2004). Dmitri Shostakovich, Pianist. Montreal: McGill-Queen's University Press. p. 49. ISBN 0-7735-2581-5. http://books.google.com/books?id=6phqd3BvJwIC&pg=PA49&vq=horowitz&dq=%22Dmitri+Shostakovich,+Pianist%22&sig=9qMftIuSbC0WD9FI-2Kd6UYo408.
- ^ Videotapes interview, 1982, intemission feature from London recital
- ^ Olin Downes, New York Times, January 13, 1928
- ^ Olin Downes, New York Times, February 21, 1928
- ^ Vladimir Horowitz on Encyclopedia.com, accessed 15 January 2010.
- ^ Schonberg, Harold C. (April 22, 1990). "Recordings; Horowitz's Parting Gift: Charming Novelties". The New York Times. http://www.nytimes.com/1990/04/22/arts/recordings-horowitz-s-parting-gift-charming-novelties.html. Retrieved 2010-03-18.
- ^ "Sony Masterworks to Release Unprecedented Series of Horowitz Recordings...". PR Newswire. http://www.prnewswire.com/news-releases/sony-masterworks-to-release-unprecedented-series-of-horowitz-recordings-documenting-legendary-pianists-greatest-years-as-an-interpretive-artist-78539857.html. Retrieved 2010-03-18.
- ^ Plaskin, Glenn (1983) p. 10 "interviews with all six of Horowitz's students: Gary Graffman, Byron Janis, Ivan Davis, Ronald Turini, Coleman Blumfield, and Alexander Fiorillo"
- ^ a b Plaskin, Glenn (1983) p.305 "...he also won the Franz Liszt Competition and received a surprise phone call from Horowitz the day after the announcement." "...with 60 concerts planned for his first cross-country tour and a CBS record contract, Davis intrigued Horowitz."
- ^ a b Plaskin, Glenn (1983) p.300 "Many young people say they have been pupils of Horowitz, but there were only three. Janis, Turini, who I brought to the stage, and Graffman. If someone else claims it, it's not true. I had some who played for me for four months. Once a week. I stopped work with them, because they did not progress." "The fact that Horowitz disavowed most of his students and blurred the facts regarding their periods of study says something about the erratc nature of his personality during that period."
- ^ Plaskin, 1983, p. 162
- ^ Dubal, 1991, p. 16. "During the years I knew him, there were no signs of any sex life and very little talk on the subject. I personally doubt that he was capable of loving a man emotionally, but there was no doubt he was powerfully attracted to the male body and was most likely often sexually frustrated throughout his life."
- ^ Dubal, 1991, pp. 16–17.
- ^ Dubal, 1991, p. 251.
- ^ "The Great White (Jewish, Gay) Way". http://www.forward.com/articles/4342/.
- ^ Janis, Byron. Chopin and Beyond: My Extraordinary Life in Music and the Paranormal, pp. 67-68. Wiley. ISBN 0-470-60444-1
- ^ Plaskin, Glenn (1983). Biography of Vladimir Horowitz Quill ISBN 0-688-02656-7 Page 215 "In December 1940, Horowitz had begun psychoanalysis with an eminent psychiatrist, Dr. Lawrence Kubie, a strict Freudian who was attempting to exorcise the homosexual element from Horowitz."
- ^ Plaskin, Glenn (1983). Biography of Vladimir Horowitz Quill ISBN 0-688-02656-7 Pages 338, 387, 389
- ^ Charles Kuralt liner notes for Horowitz in Moscow CD
- ^ See, e.g., Joachim Kaiser and Klaus Bennert, Grosse Pianisten in Unserer Zeit (1997)
- ^ “This colossal account of Liszt’s great, arching tone-poem for piano...has never really been surpassed for technical authority.” Sunday Times, 3rd January 2010
- ^ Chopin, Rachmaninoff: Piano Sonatas at Barnes and Noble
- ^ Plaskin, Glenn (1983). Biography of Vladimir Horowitz. UK: Macdonald. ISBN 0-356-09179-1
- ^ Dubal, 1993
- ^ Dubal, David (1993). Remembering Horowitz: 125 Pianists Recall a Legend. Schirmer Books. "Preface Acknowledgments Introduction “……Van Cliburn …Yefim Bronfman…Horacio Gutierrez…..and Shura Cherkassky, pp 350-351"
- ^ Harvey Sachs, "Virtuoso," Thames and Hudson, 1982
- ^ "The Horowitz Papers in the Irving S. Gilmore Music Library of Yale University". http://hdl.handle.net/10079/fa/music.mss.0055. Retrieved 13 September 2009.
- ^ Anthony Tommasini, Horowitz at 85: Still Playing Free, The New York Times, Sunday, September 25, 1988
- ^ "Vladimir Horowitz (pianist)". Gramophone. http://www.gramophone.co.uk/HallofFame/ArtistPage/horowitz. Retrieved 11 April 2012.
- Dubal, David (1989). The Art of the Piano. Amadeus Press. ISBN 1-57467-088-3.
- Dubal, David (1991). Evenings with Horowitz: A Personal Portrait. Carol Publishers. ISBN 1-57467-086-7.
- Epstein, Helen. Music Talks (1988) McGraw-Hill (a long profile that appeared in the New York Times Magazine of Horowitz, 1978)
- Dubal, David. Remembering Horowitz: 125 Pianists Recall a Legend, Schirmer Books, 1993. ISBN 0-02-870676-5
- Bernhard, Thomas; Dawson, Jack (Translator) (1991). The Loser: A Novel. University of Chicago Press. ISBN 0-226-04388-6.
- Plaskin, Glenn (1983). Biography of Vladimir Horowitz. UK: Macdonald. ISBN 0-356-09179-1
- Schonberg, Harold C. (1992). Horowitz: His Life and Music. Simon and Schuster. ISBN 0-671-72568-8.
External links[link]
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Book: Vladimir Horowitz |
| Wikipedia books are collections of articles that can be downloaded or ordered in print. | |
- The Vladimir Horowitz Website (Fansite)
- The Horowitz Papers at the Irving S. Gilmore Music Library, Yale University
- Vladimir Horowitz at Deutsche Grammophon
- Vladimir Horowitz at Encyclopædia Britannica
- Vladimir Horowitz at Allmusic
- Vladimir Horowitz at NAXOS
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| Persondata | |
|---|---|
| Name | Horowitz, Vladimir |
| Alternative names | |
| Short description | |
| Date of birth | October 1, 1903 |
| Place of birth | Berdychiv or Kiev, Russian Empire |
| Date of death | November 5, 1989 |
| Place of death | New York City |
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Martha Argerich (born June 5, 1941 in Buenos Aires, Argentina) is an Argentine pianist.
Contents |
Early life[link]
Argerich was born in Buenos Aires and started playing the piano at age three (the provenance of the name Argerich is uncertain: some say it is Catalan, while others maintain it originates from Croatia).[1] At the age of five, she moved to teacher Vincenzo Scaramuzza who stressed to her the importance of lyricism and feeling. Argerich gave her debut concert in 1949 at the age of eight. The family moved to Europe in 1955 where Argerich studied with Friedrich Gulda in Austria. Juan Perón, then the president of Argentina, made their decision possible by appointing her parents to diplomatic posts in the Argentine Embassy in Vienna. She later studied with Stefan Askenase and Maria Curcio.[2] Argerich also seized opportunities for brief periods of coaching with Madeleine Lipatti (widow of Dinu Lipatti), Abbey Simon, and Nikita Magaloff.[3] In 1957, at sixteen, she won both the Geneva International Music Competition and the Ferruccio Busoni International Competition, within three weeks of each other. It was at the latter that she met Arturo Benedetti Michelangeli whom she would later seek out for lessons during a personal artistic crisis at the age of twenty, though she only had four lessons with him in a year and a half.[4] Her greatest influence was Gulda, with whom she studied for 18 months.
Professional career[link]
Argerich rose to international prominence when she won the seventh International Chopin Piano Competition in Warsaw in 1965, at age 24. In 1965, she debuted in the United States in the Lincoln Center's Great Performers Series. In the same year, she also made her first recording, including works by Chopin, Brahms, Ravel, Prokofiev, and Liszt, which received critical acclaim. In 1965, she recorded Chopin's Scherzo No. 3, Polonaise, Op. 53, and other short works in the later years.
Argerich has often remarked in interviews of feeling "lonely" on stage during solo performances.[5] Since the 1980s, she has staged few solo performances, instead focusing on concertos and, in particular, chamber music, and accompanying instrumentalists in sonatas. She is noted especially for her recordings of 20th century works by composers such as Rachmaninoff, Messiaen and Prokofiev. One notable compilation pairs Rachmaninoff's Piano Concerto No. 3 (recorded in December 1982 with the Radio Symphonie-Orchester Berlin under direction of Riccardo Chailly) with Tchaikovsky's Piano Concerto No. 1 (February 1980, Symphonie Orchester Des Bayerischen Rundfunks, Kirill Kondrashin).
Argerich is also famous for her interpretation of Prokofiev's Piano Concerto No. 3, Ravel's Piano Concerto in G, and Bach's Partita No. 2 in C minor, which she has recorded several times and continues to perform.
Argerich has also promoted younger pianists, both through her annual festival and through her frequent appearances as a member of the jury at important competitions.[citation needed] The pianist Ivo Pogorelić was thrust into the musical spotlight partly as a result of Argerich's actions: after he was eliminated in the third round of the 1980 International Frederic Chopin Piano Competition in Warsaw, Argerich proclaimed him a "genius" and left the jury in protest.[6] She has supported several artists including Gabriela Montero, Mauricio Vallina, Sergio Tiempo, Gabriele Baldocci and others.[7][8]
Argerich is president of the International Piano Academy Lake Como and performs each year at the Lugano Festival, Switzerland. She also created and has been General Director of the Argerich Music Festival and Encounter in Beppu, Japan, since 1996.
Her aversion to the press and publicity has resulted in her remaining out of the limelight for most of her career. Nevertheless she is widely recognized as one of the greatest pianists of her time.[9]
Personal life[link]
Argerich has been married three times. Her first marriage was to composer-conductor Robert Chen, with whom she had a daughter, Lyda Chen, who is a violist. From 1969 to 1973, Argerich was married to conductor Charles Dutoit, with whom she had a daughter, Annie Dutoit. Argerich continues to record and perform with Dutoit. Her third husband was pianist Stephen Kovacevich, with whom she had a daughter, Stephanie.[10]
In 1990, Argerich was diagnosed with malignant melanoma. After treatment, the cancer went into remission, but there was a reoccurrence in 1995, eventually metastasizing to her lungs and lymph nodes. Following aggressive treatment at the John Wayne Cancer Institute, which included the removal of part of her lung and use of an experimental vaccine, Argerich's cancer went into remission again. In gratitude, Argerich performed a Carnegie Hall recital benefiting the Institute.[11] As of 2012[update], Argerich remains cancer-free.[citation needed]
Awards[link]
- The Order of the Rising Sun, Gold Rays with Rosette 2005 Japan
- Praemium Imperiale 2005 Japan
- Grammy Award for Best Instrumental Soloist(s) Performance (with orchestra):
- Claudio Abbado (conductor), Martha Argerich and the Mahler Chamber Orchestra for Beethoven: Piano Concertos Nos. 2 & 3 (2006)
- Grammy Award for Best Chamber Music Performance:
- Martha Argerich and Mikhail Pletnev for Prokofiev (Arr. Pletnev): Cinderella Suite for Two Pianos/Ravel: Ma Mere L'Oye (2005)
- Grammy Award for Best Instrumental Soloist(s) Performance (with orchestra)
- Charles Dutoit (conductor), Martha Argerich and the Montreal Symphony Orchestra for Prokofiev: Piano Concertos Nos. 1 and 3/Bartók: Piano Concerto No. 3 (2000)
- Claudio Arrau Memorial Medal (1997)
- International Frederick Chopin Piano Competition: 1st prize (1965)
- Ferruccio Busoni International Piano Competition: 1st prize (1957) [12]
- Geneva International Music Competition: 1st prize (1957)
- Voted into Gramophone's Hall of Fame in 2012.[13]
See also[link]
- Great Pianists of the 20th Century - Martha Argerich
- Great Pianists of the 20th Century - Martha Argerich II
- List of Argentines
References[link]
- ^ Dean Elder, Pianists at Play, Kahn & Averill, 1989
- ^ Niel Immelman (14 April 2009). "The Guardian, 14 April 2009". London: Guardian. http://www.guardian.co.uk/music/2009/apr/14/obituary-maria-curcio. Retrieved 2012-01-04.
- ^ Manildi, Donald Musician of the Year 2001 Martha Argerich, "Musical America", 2001
- ^ Elder, Dean. Excerpts from a Rare Interview with Argerich. accessed 19 January 2010.
- ^ Martha Argerich, The Evening Talks <http://www.youtube.com/watch?v=8sPD1cma58w>
- ^ Stevenson, Joseph.Allmusic Biography of Ivo Pogorelich accessed 18 January 2010
- ^ "Progetto Martha Argerich" (in (Italian)). Rsi.ch. http://www.rsi.ch/argerich/welcome.cfm?lng=1&ids=491&idc=989. Retrieved 2012-01-04.
- ^ "Progetto Martha Argerich" (in (Italian)). Rsi.ch. http://www.rsi.ch/argerich/welcome.cfm?lng=1&ids=491&idc=1000. Retrieved 2012-01-04.
- ^ In a 2001 article about Martha Argerich for The New Yorker, critic Alex Ross wrote: "Argerich brings to bear qualities that are seldom contained in one person: she is a pianist of brain-teasing technical agility; she is a charismatic woman with an enigmatic reputation; she is an unaffected interpreter whose native language is music. This last may be the quality that sets her apart. A lot of pianists play huge double octaves; a lot of pianists photograph well. But few have the unerring naturalness of phrasing that allows them to embody the music rather than interpret it."
- ^ Hauptfuhrer, Jenny; Vespa, Mary (1980-04-07). "A Top Woman Pianist, Martha Argerich, Nearly Gave Up Her Steinway for Steno". people.com. http://www.people.com/people/archive/article/0,,20076190,00.html. Retrieved 2010-01-18.
- ^ Toronto Globe and Mail, concert review, March 28, 2000
- ^ www.concorsobusoni.it, History of the competition. "In 1957 the Premio Busoni was awarded to the sixteen-year-old Martha Argerich..."
- ^ "http://www.gramophone.co.uk/HallofFame/ArtistPage/Argerich". Gramophone. http://www.gramophone.co.uk/HallofFame/ArtistPage/Argerich. Retrieved 11 April 2012.
External links[link]
- "Argerich--Discography," (August 11, 1999)
- Ross, Alex; 'Madame X', November 12, 2001, a profile of Argerich in The New Yorker
- Martha Argerich, evening talks, the award-winning documentary film about Argerich by Georges Gachot - (imdb link)
- Orga, Ates, River Plate Queen (1978, 2006), an interview with Argerich first published in the 1979 International Music Guide
- MUSIC FESTIVAL Argerich's Meeting Point in Beppu, a music festival sponsored by the Argerich Arts Foundation of Beppu, Japan
- The Martha Argerich Project
- Argerich Music news, concert schedule, articles, recordings
- Argerich's repertoire through the years
- Martha Argerich biography, CD and concert review by cosmopolis.ch
- Martha Argerich Project Brings Talent to Lugano by Euro News, June 15, 2009
| Persondata | |
|---|---|
| Name | Argerich, Martha |
| Alternative names | |
| Short description | |
| Date of birth | 5 June 1941 |
| Place of birth | |
| Date of death | |
| Place of death | |
http://wn.com/Martha_Argerich
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This article is licensed under the Creative Commons Attribution-ShareAlike 3.0 Unported License, which means that you can copy and modify it as long as the entire work (including additions) remains under this license.
