Ferenc Liszt

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

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

Un bèl nombre de sas composicions de piano son estadas inscrichas dins lo repertòri estandard, coma per exemple las Hugarian Rhapsodies, sas Annees de Pelerinage, sa Piano Sonata in B minor, e dos piano concertos. He also made many piano transcriptions of operas, famous symphonies, Paganini Caprices (some of the most demanding works of the violin repertoire), and Schubert Lieder. Many of his piano compositions are among the most technically challenging in the repertoire. Liszt was himself a composer of lieder and choral music, of symphonic poems and other orchestral works. His compositions for organ are lauded and well-established in the organ repertoire.

Somari

1 Biography
2 Musical style and influence
- 2.1 La virtuositat de Liszt e sas reformas tecnicas
- 2.2 Recital de piano
3 Òbras
4 Òbras literàrias
5 Ligams extèrns
- 5.1 Enregistraments

[Modificar] Biography

A statue of the young Liszt

Liszt was born in the village of Doborján, near Sopron, Hungary, (now Raiding, Austria). His baptism record, written in Latin, gives his first name as Franciscus. He always used the German version Franz, never the Hungarian version Ferenc.

Franz was a weak and sickly child, and was surrounded from his early childhood with music. His father, who worked at the court of Count Esterházy, was himself a pianist and cellist (he used to play in Esterházy's summer orchestra in Eisenstadt); he organized chamber music evenings with amateur musicians from the surrounding villages, in which his old friends from Eisenstadt occasionally took part.

His father gave him his first music lessons when he was six years old. Franz quickly displayed incredible talent, easily sight-reading the most difficult music he could find, often even reading multiple staves at once. Local aristocrats noticed his talent and enabled him to travel to Vienna and later to Paris with his family.

In Vienna he was taught by Beethoven's student Carl Czerny, who proved to be the only professional piano teacher Liszt ever had. His father had first taken him to be taught by Johann Nepomuk Hummel, but Hummel's fees were too high. Antonio Salieri taught him the technique of composition and fostered the young Liszt's musical taste.

He formed an early friendship with Frédéric Chopin, but later fierce competition turned the men into rivals. He was a lifelong friend of Camille Saint-Saëns, and the latter dedicated his Symphony #3 in C Minor to Liszt.

Although he always proudly considered himself a Hungarian, Liszt never fully learned to speak the Hungarian language; his later letters and diaries show that he came to regret this deeply. One letter to his mother begins in faltering Hungarian, and after an apology continues in French (his preferred language).

On April 13, 1823, Liszt gave a concert. An account of the episode can be found in the separate article "Liszt and Beethoven".

[Modificar] Years of Pilgrimage

Four ages of Franz Liszt

Liszt left Vienna in 1823 to travel. In Paris, he studied composition with Ferdinando Paer and Anton Reicha. On April 22, 1832, he attended a concert by the virtuoso violinist Paganini and became motivated to become the greatest pianist of his day. He often took to seclusion in his room, and was heard practising for over 10 hours a day. In 1832 he wrote the Grande Fantaisie de Bravoure sur La Clochette de Paganini ("Grand Bravura Fantasy on Paganini's La Campanella"). A shorter piece using the same thematic content was included in the 1838 Etudes d'Execution Transcendante d'apres Paganini (Studies of Transcendental Execution inspired by Paganini). Also composed in this period were the 12 Grandes Etudes (Liszt later rewrote these into the 12 Transcendental Etudes in 1851).

He fraternized with such noted composers of his time as Frédéric Chopin, Hector Berlioz, Robert Schumann, and Richard Wagner, who later married Liszt's daughter Cosima. He was very widely read in philosophy, art and literature and was on friendly terms with the painter Ingres and the authors Heine, Lamennais, Hans Christian Andersen, and Baudelaire, who addressed his prose poem "Le thyrse" to Liszt.

In 1840-1841 Liszt took part in two tours of the British Isles arranged by the young musician and conductor Lewis Henry Lavenu, accompanied by Lavenu's half brother Frank Mori, two female singers and John Orlando Parry, an all round musician, singer and entertainer (who vividly recorded the tour in his diary). Between August 17 and September 26, they gave 50 concerts around England which were generally unsuccessful, having an average attendance of 140. The second tour which encompassed Liverpool, Ireland and Scotland from November 1840- January 1841 was mildly more successful, with audiences of more than 1,200 in Dublin. The tour was however a financial failure, and Liszt waived his promised fee of 500 guineas a month.

After 1842, when "Lisztomania" swept across the European continent, Liszt's recitals were in an overwhelming demand. His admirers praised and courted him, and ladies fought over his handkerchiefs and green silk gloves as souvenirs, which they often ripped to pieces in their struggle. Some of Liszt's contemporaries saw this kind of worship as vulgar and inappropriate, and eventually came to despise Liszt because of it.

During the years in which he appeared regularly in public, he was almost universally acknowledged (even by musical conservatives who disliked his compositions) as the foremost piano performer. His main rival in public esteem as a virtuoso was Sigismond Thalberg, who specialized in salon music, especially operatic fantasies. Thalberg's reputation has faded, and in current opinion, only Chopin is comparably significant among romantic pianists.

[Modificar] Liszt in Weimar

Imatge:Franz Liszt's music room, Weimar.jpg

Franz Liszt's music room in Weimar, 1884

In 1847, Liszt gave up public performances on the piano and in the following year finally took up the invitation of 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, gave lessons to a number of pianists, including the great virtuoso Hans von Bülow, who married Liszt's daughter Cosima in 1857 (before she was married to Wagner). He also wrote articles championing Berlioz and Wagner, and 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.

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

Also in 1847 Liszt met Princess Carolyne zu Sayn-Wittgenstein. The Princess was an author, whose major work was published in 16 volumes, each containing over 1,600 pages. Her longwinded writing style had some effect on Liszt himself. His biography of Chopin and his chronology and analysis of Gypsy music (which later inspired Béla Bartók) were both written in the Princess's loquacious style. The couple had intended to marry in 1860, but since the Princess had been previously married and her husband was still alive, the Roman Catholic authorities would not approve the wedding, eventually intervening in dramatic fashion only moments before the couple were to take their vows. Although Liszt and Princess Carolyne remained friends, the stress of trying to persuade the Church authorities to let them marry, only to have their efforts eventually be in vain, proved an emotional blow from which neither completely recovered.

In 1851 he published a revised version of his 1838 Twelve Studies now titled Etudes d'Execution Transcendante, and later same year the Grandes Etudes de Paganini (Grand etudes after Paganini), the most famous of which is La Campanella (The Bell), a study in octaves, trills and leaps.

[Modificar] In retirement

Imatge:Franz Liszt.jpg

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

From 1876 until his death he also taught for several months every year at the Hungarian Conservatoire at Budapest. He died in Bayreuth on July 31, 1886 as a result of pneumonia which he contracted during the Bayreuth Festival hosted by his daughter Cosima. At first, he was surrounded by some of his more adoring pupils, including Arthur Friedheim, Siloti and Bernhard Stavenhagen, but they were denied access to his room by Cosima shortly before his death at 11:30pm. He is buried in the Bayreuth Friedhof.

[Modificar] Musical style and influence

The majority of Liszt's piano compositions reflect his advanced virtuosity; however he was a prolific composer, and wrote works at several levels of difficulty, some being accessible to intermediate- (and even beginner-) level pianists. Abschied (Farewell) and Nuages Gris are examples of this less virtuosic style, as are at least some of the six Consolations.

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

Liszt at piano, 1886. Engraving based on an old photograph.

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

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

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

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

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

[Modificar] La virtuositat de Liszt e sas reformas tecnicas

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

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

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

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

[Modificar] Recital de piano

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

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

[Modificar] Òbras

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

[Modificar] Òbras literàrias

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