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Franz Liszt

October 22, 1811 - July 31, 1886
born in Raiding, composed during the Romantic period

Biography

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. ~ Michael Rodman, All Music Guide

Continued…

Selected Discography

Liszt: Années De Pèlerinage, Vol. 2

Liszt: Beethoven Symphony 2 & 5 (Piano Transcriptions)

Liszt: Piano Works

Liszt: The 19 Hungarian Rhapsodies

Liszt: The Two Piano Concertos; The Piano Sonata

gbeetge says:

08-19-2008

Great music!!!!!!! ! ! ! !

Jerry Colburn says:

edited on 07-19-2008

The Preludes offer a good contrast between Germany and the United States in the 1930s. Goebbels used the music as a theme introducing radio speeches by Hitler; meanwhile, at the Saturday afternoon serials all around America, selected passages played as background music for Flash Gordon and the Lone Ranger. A lot of the kids munching popcorn in nickel bags helped send both Hitler and Goebbels to their fiery endings.

T. Totto says:

03-14-2008

Best pianist ever

theexcetraol i g e s t says:

03-13-2008

it's nice to hear some one like this that puts feeling into what he does!!

T. Totto says:

03-07-2008

This guy's piano works are amazing and filled with life. They're totally enthralling!

T. Totto says:

03-03-2008

This guy really knows how to make music.