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.© TiVo Read more
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.
© TiVo
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Franz Liszt: 12 Études d'exécution transcendante, S. 139
Classical - Released by Claves Records on 4 Oct 2011
24-Bit 96.0 kHz - Stereo -
Bohèmes
Isabel Villanueva, François Dumont
Classical - Released by Imm on 13 Oct 2017
24-Bit 96.0 kHz - Stereo -
Liszt: 12 Études d'exécution transcendante
Classical - Released by Mezhdunarodnaya Kniga Musica on 1 Jan 1989
16-Bit CD Quality 44.1 kHz - Stereo -
Liszt: Excerpts from Années de Pélerinage, deuxième année: Italie and other works
Classical - Released by Signum Records on 30 Jul 2012
24-Bit 48.0 kHz - Stereo -
Liszt: Years of Pilgrimage
Classical - Released by Nimbus Alliance on 1 Jul 2012
16-Bit CD Quality 44.1 kHz - Stereo -
Liszt, Seis rapsodias húngaras
Classical - Released by ClassicalPirosDigital on 26 Oct 2015
16-Bit CD Quality 44.1 kHz - Stereo -
Liszt: Hungarian Rhapsodies
London Symphony Orchestra, Antal Doráti
Classical - Released by OBX Records on 23 Feb 2015
16-Bit CD Quality 44.1 kHz - Stereo -
Of Innocence and Experience
Classical - Released by 2L on 19 Aug 2020
The title of this recording is inspired by the painter and poet William Blake's collection of poems, Songs of Innocence and of Experience. It is a tit ...
24-Bit 44.1 kHz - Stereo -
Liszt - Time
Classical - Released by UME - Global Clearing House on 27 Jun 2020
16-Bit CD Quality 44.1 kHz - Stereo -
Plays Paderewski And Liszt
Classical - Released by Everest Records on 27 Feb 1965
24-Bit 44.1 kHz - Stereo -
Franz Liszt: Sonata - Piano Works
Classical - Released by Danacord Records on 15 Feb 2016
16-Bit CD Quality 44.1 kHz - Stereo -
Franz Liszt: Selected Piano Pieces
Classical - Released by Bomba-Piter (Manchester) on 14 Mar 2006
16-Bit CD Quality 44.1 kHz - Stereo -
Liszt: Les jeux d'eaux à la Villa d'Este - Sonata in B Minor, S. 178 - Mephisto Waltz No. 1, S. 514
Classical - Released by VDE-GALLO on 16 Sep 2012
16-Bit CD Quality 44.1 kHz - Stereo -
Liszt: Piano Concerto No. 1 - Dance Macabre
Classical - Released by Denon on 1 Jan 2009
16-Bit CD Quality 44.1 kHz - Stereo -
The Classical Collection - Liszt - Obras románticas
Classical - Released by ClassicalPirosDigital on 11 Jun 2015
16-Bit CD Quality 44.1 kHz - Stereo -
Piano Classics
Classical - Released by Heritage Records on 12 Jun 2014
16-Bit CD Quality 44.1 kHz - Stereo -
Berman Plays Scriabin and Other Composers
Classical - Released by Pipeline Music on 30 Nov 2006
16-Bit CD Quality 44.1 kHz - Stereo -
Ravel, Escaich, Liszt, Rachmaninoff & Ligeti: Works for Piano
Classical - Released by Claves Records on 30 Jun 2017
24-Bit 96.0 kHz - Stereo -
Franz Liszt (St. Maartenskerk, Zaltbommel)
Classical - Released by P4Y JQZ on 1 Mar 2016
16-Bit CD Quality 44.1 kHz - Stereo -
Nadejda Vlaeva - A Liszt Recital
Classical - Released by MSR Classics on 1 Jan 2001
16-Bit CD Quality 44.1 kHz - Stereo -
Infinite Liszt
Classical - Released by UME - Global Clearing House on 11 Jul 2020
16-Bit CD Quality 44.1 kHz - Stereo