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Komponist: Liszt, Franz (1811-1886)

Veranstaltungen zu klassischer Musik, Oper, Ballett und Tanz finden | Liszt
© Franz Hanfstaengl, 1858
© Franz Hanfstaengl, 1858
Januar 2020

RomeYoung Artist Piano Solo Series 2019-2020 Lucrezia Liberati - Simone Librale

Liszt, Messiaen
Lucrezia Liberati; Simone Librale

BambergChristian Schmitt plays with members of the orchestra

Martin, Höller, Britten, Liszt
Christian Schmitt; Ulrich Biersack; Ulrich Witteler; Andrei Godik

HoustonBeethoven 7

Widmann, Liszt, Beethoven
Houston Symphony; Dima Slobodeniouk; Kirill Gerstein

Fort WorthStephen Hough, piano

Busoni, Chopin, Hough, Liszt
Stephen Hough, Klavier

LondonMark Wigglesworth Conducts Holst's The Planets

Mark Wigglesworth Conducts Holst's The Planets
Walton, Liszt, Holst
Royal Philharmonic Orchestra; Mark Wigglesworth; Khatia Buniatishvili; Holst Singers
Neue Kritikenmehr...

Zwischen Liebespsychose und Historienspiel: MacMillans Mayerling

Friedemann Vogel © Stuttgarter Ballett
Kenneth Macmillan zeigt in Mayerling eine grandiose Charakterstudie mit einem Wechselbad der Gefühle.

Vielfarbig faszinierendes Klavier- und Orchesterspiel im Gewandhaus

Gewandhausorchester Leipzig © Jens Gerber
Das Gewandhausorchester stellt in der umjubelten europäischen Erstaufführung von Thomas Adès' Klavierkonzert seine musikalische Kompetenz für die Stilrichtungen von Beethoven bis ins 21. Jahrhundert unter Beweis.

Verborgene Genies: Sergei Babayan in München

Sergei Babayan © Marco Borggreve
Sergei Babayan sucht das Verborgende und begeistert mit einem kreativen Programm des Münchner Publikum.

Liszt in Sibirien? – Denis Matsuev mit der Staatskepelle Dresden

Christian Thielemann © Matthias Creutziger
Die Staatskapelle Dresden präsentiert mit Christian Thielemann und dem meisterhaften Denis Matsuev Brahms, Weber und Liszt in Luzern.

Flammenschrift und nächtliche Gesänge in Amsterdam

Antoine Tamestit © Julien Mignot
Es passt zusammen: Bratsche und Indianerweihen, Liszt und Saint-Saëns „Orgelsymphonie" mit Stéphane Denève, Leo van Doeselaar und dem Niederländischen Radio Filharmonisch Orkest.

For most of us, the name of Franz Liszt conjures up a two word phrase: piano virtuoso. Liszt gave us the piano recital: before him, no pianist was so sure of his prowess and showmanship as to dare to book a large concert hall and pull in an adoring audience there to see just one man playing the piano for an entire evening.

Liszt’s vast array of piano pieces abounds with showmanship: whether or not they are more difficult to play than other composers’ works, they sound more difficult and more impressive. But amidst all the razzmatazz, it’s easy to overlook the depth, variety, innovation and sheer quality of the music. His masterwork, the single movement Sonata in B Minor, builds a series of themes into a massive musical structure with a coherence that would later be echoed in the operas of his son-in-law Richard Wagner. The shorter Totentanz is utterly convincing in its depiction of a series of shifting moods, while the Hungarian Rhapsodies alternate joyous fireworks with moments of rare delicacy. Equally impressive are Liszt’s transcriptions and “reminiscences”. Listening to his Reminiscences de Norma gives you the uncanny feeling that you’re listening to the original Bellini opera, while being aware that this can’t possibly be right since there’s only one man and a piano. Liszt formed part of the democratisation of music to wider audiences, playing music by many other composers and transcribing Beethoven’s nine symphonies for the piano.

Liszt’s output stretched far beyond piano works, including wonderful religious music and orchestral works, notably the Faust Symphony and a series of symphonic poems.

Liszt was born in 1811 to a musical German-speaking family in Sopron, in a small finger of Hungary very close to the Austrian border and the Esterhazy Palace in Eisenstadt where Haydn was employed for many years. He was taught by Carl Czerny (the author of the dexterity studies still used by many of today's piano students) and was recognised early as a child prodigy: his one act opera Don Ssanche, ou le château de l’amour, received its première five days before his fourteenth birthday. For the first half of his life, he lived as a travelling musician, touring the major cities of Europe (particularly Paris) and dazzling an ecstatic public. His superstar nature was reflected in a prolific and tempestuous love life; although he had a series of highly public affairs and several children, he never married. In 1847, he gave up public performances to focus on composition and teaching, living first in Weimar and then in Rome. He became a revered and influential teacher: extraordinarily, he did not charge for lessons, believing that he had already made enough money from his music.

For much of the twentieth century, critics belittled Liszt’s music as flashy and superficial: he was seen as the dead end of a decadent romantic movement. More recently, music scholars have been kinder, perceiving compositional techniques which have strongly influenced 20th century music. But throughout this time, his works have been continuously popular with pianists and audiences, and he stands as one of the most memorable composers of the 19th century.

3 Konzertetüden: La leggierezza, S144 Nr.23 Konzertetüden: Un sospiro, S144 Nr.34 Valses oubliées, S 2156 Consolations, S1729 Valses caprices, transcription from Schubert, S 427Album d'un voyageur: Les cloches de G*****, S 156 no. 4An die ferne Geliebte S469Années de pèlerinageAnnées de pèlerinage, Deuxième année, Italie, S 161Années de pèlerinage, Deuxième année, Italie: Après une lecture du Dante. Fantasie quasi Sonata, S. 161 Nr. 7Années de pèlerinage, Deuxième année, Italie: Sonetto del Petrarca no. 123, S 161 no. 6Années de pèlerinage, Deuxième année, Italie: Sposalizio, S 161 no. 1Années de pèlerinage, Première année: Suisse, S 160Années de pèlerinage, Troisième année, S 163Auf dem Wasser zu singen, S 558 no. 2 (transcribed from Schubert D 774)Ausgewählte LiederAve Maria (transcribed from Schubert), S 558/12Ave verum corpusBagatelle sans Tonalite, S 216aBallade no. 2 in B minor, S 171Berceuse, S174Comment, disaient-ils, S 276Concert Paraphrase on Ernani II, S 432Csárdás obstiné, S 225 no.2Der Doppelgänger no. 7 (transcribed from Schubert's Schwanengesang), S 560/12Die Ideale, S.106Die drei Zigeuner, S 320Du bist wie eine Blume, S 287Eine Faust-Symphonie in drei Charakterbildern, S 108Enfant, si j'étais roi, S 283Erlkönig (transcribed from Schubert), S 558 no.4Es muss ein Wunderbares sein, S 314Es rauschen die Winde, S 294Es war ein König in Thule, S 278Fantasie und Fugee zu "Ad nos, ad salutarem undam" S 259Fantasie über Themen aus Ludwig van Beethovens "Die Ruinen von Athen" für Klavier und Orchester S 122Fantasy and fugue in G minor by JS Bach , BWV 542, S 463Fantasy on Hungarian folk melodies S 123Festklänge, symphonic poem, S 101Freudvoll und Leidvoll, S 280FunéraillesGastibelzaGo not, happy day, S 335Grand Duo Concertante sur la romance de "Le Marin", S 128Gretchen am spinnrade, D 558 no. 8 (transcribed from Schubert D 118)Harmonies Poetiques et Religieuses: Invocation, S 173 no. 1Harmonies poétiques et religieuses – Ave Maria, S. 173Harmonies poétiques et religieuses, S. 173Harmonies poétiques et religieuses: Andante lagrimoso, S 173 no. 9Harmonies poétiques et religieuses: Benediction de Dieu dans la Solitude, S 173 no. 3Harmonies poétiques et religieuses: Cantique d'amour, S 173 no. 10Harmonies poétiques et religieuses: Funérailles, S173 Nr.7Harmonies poétiques et religieuses: Pensée des morts, S 173 no.4Hexaméron, Variations on the march from Bellini's Il Puriatani, S 392Im Rhein, im schönen Strome, S 272Isolde's Liebestod from Wagner's Tristan und Isolde, transc. for piano, S 447Klavierkonzert Nr. 1 Es-Dur, S 124Klavierkonzert Nr. 2 in A-Dur, S125Klaviersonate in h-Moll, S178Kling leise, mein Lied, S 301La Cloche Sonne, S 238La Lugubre Gondola for piano, S 200 no. 1La Lugubre Gondola for piano, S 200 no. 2La MarseillaiseLes Préludes, Symphonische Dichtung Nr. 3, S97Liebestraum no. 3 in A flat major, S 541Légende no. 1 "Saint François d'Assise: la prédication aux oiseaux", S 175Légende no. 2 "Saint François de Paule: marchant sur les flots", S 175Marguerite and ArmandMayerlingMephisto Polka, S 217Mephistowalzer Nr. 1, "Der Tanz in der Dorfschenke", S 514Mignons Lied: Kennst du das Land, S 275Missa Choralis, S 10Oh! Quand je dors, S 282Orpheus, symphonic poem no. 4 for orchestra, S 98Ossa arida, J38Paraphrase on a Waltz from Gounod's "Faust", S 407Prometheus, S 99Präludium und Fuge über den Namen BACH, S 260Qui seminant in Lacrimis, J48Rigoletto: Paraphrase de Concert, S 434Réminiscences de Boccanegra, S 438Réminiscences de Norma, S 394S'il est un charmant gazon, S 284SardanapaloStändchen no. 7 (transcribed from Schubert's Schwanengesang)Totentanz for piano and orchestra, S 126Totentanz, S 525Transcr. from Wagner's Solemn March to the Holy Grail from Parsifal, S 450Tre sonetti di Petrarca, S 270Ungarische Rhapsodie Nr. 11 in a-Moll, S244/11Ungarische Rhapsodie Nr. 12 in cis-Moll, S244/12Ungarische Rhapsodie Nr. 2 in cis-Moll, S244/2Ungarische Rhapsodie Nr. 6 in Des-Dur, S244/6Ungarische Rhapsodie Nr. 9 in Es-Dur, "Karneval in Pest", S244/9Ungarischer Geschwindmarsch, S233Ungarischer GeschwindsmarschValse no. 6 « Soirée de Vienne » d'après SchubertValse oubliée in F sharp minor, S215 no.1Valse oubliée, S215 no.2Venezia e NapoliVergiftet sind meine Lieder (My songs are poisoned), S 289Via Crucis, S 53Was Liebe sei? S 288Wiegenlied, S 198À la Chapelle Sixtine (Miserere d'Allegri et Ave verum corpus de Mozart) S.461Études d’exécution transcendante, S139 Nr.4: MazeppaÉtudes d’exécution transcendante, S139 Nr.5: Feux FolletsÉtudes d’exécution transcendante, S139 Nr.6: VisionÉtudes d’exécution transcendante, S139 Nr.8: Wilde JagdÉtudes d’exécution transcendante, S139 Nr.9: RicordanzaÜber allen Gipfeln ist Ruh, S 306