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
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Liszt: Weinen, Klagen, Sorgen, Zagen, S. 673
Classical - Released by Prospect on 19 Apr 2024
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Reflections and Relationships
Yaroslav Senyshyn, Susan O'Neill-Senyshyn
Chamber Music - Released by Albany Records on 1 Nov 2013
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Alexander Brailowsky Liszt and Encores: The Berlin Recordings 1928-1934 Vol 2.
Classical - Released by Danacord Records on 1 Jan 1989
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Preludes to Consolations: Chopin & Liszt
Frédéric Chopin, Franz Liszt, Valentina Melilla
Classical - Released by Piano Hall Records on 7 Feb 2023
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Un Sospiro. Liszt and Grieg in Time
Ernst von Dohnányi, Edvard Grieg, Franz Liszt
Classical - Released by Novus Promusica on 29 Feb 2024
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Great Performances at Megaron, the Athens Concert Hall, Vol. 3, Franz Liszt
Classical - Released by Polymusic Classical on 29 Mar 2021
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Los Grandes de la Musica Clasica - Franz Liszt Vol. 2
Classical - Released by ClassicalPirosDigital on 7 Jun 2015
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Cosmic Classical: Libra
Franz Liszt, Camille Saint-Saëns, Giuseppe Verdi
Lounge - Released by PMI Collins Classics on 23 Aug 2021
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Franz Liszt Sonata (Friedheim Version) and Pensée des Morts: Historic Performances 2013 (Stereo)
Classical - Released by The Digital Gramophone on 6 Nov 2013
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Yuri Didenko plays Liszt, Rachmaninov
Classical - Released by Classical Records on 2 Oct 2002
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Classical Assembly. Gennady Dzubenko - Liszt, Mussorgsky, Prokofiev
Classical - Released by Russian Compact Disc on 17 Jun 2001
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Schwanengesang, D. 957: No. 4 - Ständchen (Arr. for Piano by Franz Liszt)
Franz Schubert, Franz Liszt, German Kitkin
Classical - Released by Stereo Arts Classics on 15 Apr 2024
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Liszt: Präludium und Fuge über das Thema B-A-C-H, S. 260
Classical - Released by Prospect on 19 Apr 2024
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Liszt: Fantasie und Fuge über „Ad nos ad salutarem undam“, S. 259
Classical - Released by Prospect on 19 Apr 2024
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Liszt: Symphonic Poem No. 2, S. 96 "Tasso, Lamento e trionfo" (Digitally Remastered)
Lithuania RTV Symphony Orchestra
Classical - Released by EMG Classical on 3 Sep 2013
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Afternoon walks
Classical - Released by UME - Global Clearing House on 9 May 2024
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Majestic Melodies: Tchaikovsky, Beethoven, Liszt
Pyotr Illitch Tchaïkovski, Franz Liszt, Ludwig van Beethoven
Classical - Released by UME - Global Clearing House on 20 Mar 2024
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Hungarian Rhapsody No. 5
Alternative & Indie - Released by Kevin Pearson on 5 Dec 2023
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Lucid Dreams
Dance - Released by VIRAL MUSIC COLLECTIVE on 8 Jun 2023
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