Franz Liszt
Liszt was the only contemporary whose music Richard Wagner gratefully acknowledged as an influence upon his own. His lasting fame was an alchemy of extraordinary digital ability -- the greatest in the history of keyboard playing -- an unmatched instinct for showmanship, and one of the most progressive musical imaginations of his time. Hailed by some as a visionary, reviled by others as a symbol of empty Romantic excess, Franz Liszt wrote his name across music history in a truly inimitable manner.
From his youth, Liszt demonstrated a natural facility at the keyboard that placed him among the top performing prodigies of his day. Though contemporary accounts describe his improvisational skill as dazzling, his talent as a composer emerged only in his adulthood. Still, he was at the age of eleven the youngest contributor to publisher Anton Diabelli's famous variation commissioning project, best remembered as the inspiration for Beethoven's final piano masterpiece. An oft-repeated anecdote -- first recounted by Liszt himself decades later, and possibly fanciful -- has Beethoven attending a recital given by the youngster and bestowing a kiss of benediction upon him.
Though already a veteran of the stage by his teens, Liszt recognized the necessity of further musical tuition. He studied for a time with Czerny and Salieri in Vienna, and later sought acceptance to the Paris Conservatory. When he was turned down there -- foreigners were not then admitted -- he instead studied privately with Anton Reicha. Ultimately, his Hungarian origins proved a great asset to his career, enhancing his aura of mystery and exoticism and inspiring an extensive body of works, none more famous than the Hungarian Rhapsodies (1846-1885).
Liszt soon became a prominent figure in Parisian society, his romantic entanglements providing much material for gossip. Still, not even the juiciest accounts of his amorous exploits could compete with the stories about his wizardry at the keyboard. Inspired by the superhuman technique -- and, indeed, diabolical stage presence -- of the violinist Paganini, Liszt set out to translate these qualities to the piano. As his career as a touring performer, conductor, and teacher burgeoned, he began to devote an increasing amount of time to composition. He wrote most of his hundreds of original piano works for his own use; accordingly, they are frequently characterized by technical demands that push performers -- and in Liszt's own day, the instrument itself -- to their limits. The "transcendence" of his Transcendental Etudes (1851), for example, is not a reference to the writings of Emerson and Thoreau, but an indication of the works' level of difficulty. Liszt was well into his thirties before he mastered the rudiments of orchestration -- works like the Piano Concerto No. 1 (1849) were orchestrated by talented students -- but made up for lost time in the production of two "literary" symphonies (Faust, 1854-1857, and Dante, 1855-1856) and a series of orchestral essays (including Les préludes, 1848-1854) that marks the genesis of the tone poem as a distinct genre.
After a lifetime of near-constant sensation, Liszt settled down somewhat in his later years. In his final decade he joined the Catholic Church and devoted much of his creative effort to the production of sacred works. The complexion of his music darkened; the flash that had characterized his previous efforts gave way to a peculiar introspection, manifested in strikingly original, forward-looking efforts like Nuages gris (1881). Liszt died in Bayreuth, Germany, on July 31, 1886, having outlived Wagner, his son-in-law and greatest creative beneficiary.
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Liszt: Dreams Of Love, S.541 No.2 Blissful Death
Classical - Lançado por Black Powder Classical em 10/05/2024
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Ave verum corpus, K. 618 (Arr. for Piano by Franz Liszt)
Wolfgang Amadeus Mozart, Franz Liszt, German Kitkin
Classical - Lançado por Stereo Arts Classics em 06/05/2024
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6 Polish Songs, S. 480: 2. Frühling (Wiosna) (Arr. for Piano by Franz Liszt after Chopin's Op. 74)
Frédéric Chopin, Franz Liszt, German Kitkin
Classical - Lançado por Stereo Arts Classics em 13/05/2024
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Consolation (Electronic Version)
Electronic - Lançado por Electro Roma em 31/03/2022
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Grandes Clasicos
Classical - Lançado por Open Records em 20/03/2010
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Liszt: Hungarian Fantasy for Piano and Orchestra
Pierino Gamba, London Symphony Orchestra, Julius Katchen
Classical - Lançado por Sunday Club Records em 27/01/2014
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Liszt - Hungarian Rhapsody No. 9
Vienna State Opera Orchestra, Victor Desarzens
Classical - Lançado por Violet Hill Records em 11/06/2012
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Liszt: Piano Concerto No. 1 in E-Flat Major, S.124
Robert Irving, The Symphony of the Air, Jorge Bolet
Classical - Lançado por Sunday Club Records em 02/08/1960
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Hungarian Rhapsodies (Electronic Version)
Electronic - Lançado por Electro Roma em 23/02/2023
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The Best of Liszt (Remastered)
Miscellaneous - Lançado por Classic Records Ltd. em 27/04/2018
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Liszt: Liebestraum No. 3 in A-Flat
The Vienna State Opera Orchestra, Joseph Leo Gruber
Classical - Lançado por Violet Hill Records em 11/06/2012
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Liszt: Hungarian Rhapsody No. 2
Vienna State Opera Orchestra, Victor Desarzens
Classical - Lançado por Violet Hill Records em 06/06/2012
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Liszt - Mephisto Waltz
The International Symphony Orchestra, René Leibowitz
Classical - Lançado por Violet Hill Records em 21/05/2012
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Liszt: Hungarian Rhapsody for Orchestra No. 2 in D Minor
Anatole Fistoulari, Vienna State Opera Orchestra
Classical - Lançado por Sunday Club Records em 15/01/2014
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Jorge Bolet Plays the Music of Franz Liszt
Jorge Bolet, Robert Irving, The Symphony of the Air
Classical - Lançado por Sunday Club Records em 02/08/1960
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Liszt: Hungarian Rhapsody for Orchestra No. 4 in D Minor
Anatole Fistoulari, Vienna State Opera Orchestra
Classical - Lançado por Sunday Club Records em 15/01/2014
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Liszt: Hungarian Rhapsody for Orchestra No. 3 in D Major
Anatole Fistoulari, Vienna State Opera Orchestra
Classical - Lançado por Sunday Club Records em 15/01/2014
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Ballade (Electro Version)
Electronic - Lançado por Electro Roma em 03/04/2023
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