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Komponist: Liszt, Franz (1811-1886)

© Franz Hanfstaengl, 1858
© Franz Hanfstaengl, 1858
Dezember 2017

ManchesterStephen Hough: From Process to Performance

Liszt: Klavierkonzert Nr. 1 Es-Dur, S 124
Chetham's Symphony Orchestra; Stephen Threlfall; Stephen Hough

BilbaoLiszt, Marhulets, Bartók

Liszt, Marhulets, Bartók
Bilbao Orkestra Sinfonikoa; John Axelrod; David Krakauer

Hong KongA Viennese New Year

Liszt, Strauss Sohn, Strauss I
Hong Kong Philharmonic Orchestra; David Angus; Chiyan Wong

KölnNew Year's Concert

Paganini, Liszt, Offenbach
Gürzenich-Orchester Köln; Łukasz Borowicz; Ray Chen

LondonJoanna MacGregor - piano

Rameau, Daquin, Couperin, Janáček, Messiaen, Birtwistle, Alizâdeh, Poglietti, Byrd, Glass, Purcell, Liszt, Pachelbel, Gubaidulina
Joanna MacGregor, Klavier
Neue Kritikenmehr...

Jugendliches Draufgängertum: Lise de la Salle mit der Philharmonia Zürich

Den glanzvollen Schlusspunkt setzte dann Bartóks virtuoses, rhythmisch komplexes Finale: ein orchestrales Schaustück, welches die Elemente der vorangegangenen Sätze, deren Spielfreude, das Volkstümliche in sich vereinigt.

Mit Liszt in die Falle gelockt

Der rein ungarische Konzertabend hatte mit einer engagierten Interpretation des Konzerts für Orchester von Zoltán Kodály begonnen und endete mit dem absoluten Highlight des Abends, dem großartigen Konzert für Orchester von Béla Bartók.

Ein Osterkorb voller Klaviergenüsse

Martha Argerich und Daniel Barenboim geben im Rahmen der Festtage einen fulminanten Duo-Klavierabend in der Philharmonie Berlin.

Expressiv und gestaltungsstark: Vadym Kholodenko in Baden

Vadym Kholodenko ist ein Klangmagier: sein Spiel war äußerst sprechend, bilderreich, mit blühender Agogik erzählend-plastisch und dabei unprätentiös: große Klavierkunst!

Kunst kommt von Können

Marc-André Hamelin ist ein bewundernswerter Künstler, dessen Recital großartige musikalische Erinnerungen schafft.

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.

12 Études d’exécution transcendante, S1393 Sonetti del Petrarca: I' vidi in terra angelici costumi, S 2703 Sonnetti del Petrarca: Benedetto sia il giorno, S 2703 Sonnetti del Petrarca: Pace non trovo, S 2703 sonetti di Petrarca, S 158Aida: Danza sacra e duetto finale, transcription from Verdi, S 436/R 269Anfangs wollt' ich fast verzagen, S 311Années de pèlerinage, Deuxième année, Italie: Après une lecture du Dante. Fantasia quasi sonata, S.161 no.7Années de pèlerinage, Première année, S 160: Suisse: Vallée d'ObermannAnnées de pèlerinage, Troisième année: Les jeux d'eaux à la villa d'Este, S 163 no. 4Ave Maria, S 659Bagatelle sans Tonalite, S 216aBallade no. 2 in B minor, S 171Comment, disaient-ils, S 276Consolation Nr. 3 in Des-Dur, S172 Nr.3Der du von dem Himmel bist , S 279Die Lorelei, S 273Die stille WasserroseEine Faust-Symphonie in drei Charakterbildern, S 108Enfant, si j’étais roi, S 283Er liebte mich so sehr! S 271Fantasia and Fugue on "Ad nos, ad salutarem undam" S 259Fantasie and fugue on the theme B-A-C-H, S 529Fantasy on Hungarian folk melodies S 123FaustHunnenschlachtIhr Glocken von Marling, S 328Im Rhein, im schönen Strome, S 272Klavierkonzert Nr. 1 Es-Dur, S 124Klavierkonzert Nr. 2 in A-Dur, S125Klaviersonate in h-Moll, S178Le Rossignol, S 250aLes Préludes, Symphonische Dichtung Nr. 3, S97Marguerite and ArmandMephistowalzer Nr. 1, "Der Tanz in der Dorfschenke", S 514Nuages gris (Grey Clouds), S 199Oh! Quand je dors, S 282Orpheus, symphonic poem no. 4 for orchestra, S 98Prelude and Fuge for A minor by JS Bach (BWV543) transcribed for solo piano, S 462/1Präludium und Fuge über den Namen BACH, S 260Rapsodia húngara núm. 6 en re bemol mayor para orquesta, S 359Rhapsodie Espagnole, S254Réminiscences de Don JuanS’il est un charmant gazon, S 284Totentanz for piano and orchestra, S 126Transcr. 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. 9 in Es-Dur, "Karneval in Pest", S244/9Variations on a theme from Weinen, Klagen, Sorgen, Zagen by JS Bach, S 180Von der Wiege bis zum Grabe (From the Cradle to the grave), Symphonic Poem, S 107Widmung, transcription of Schumann’s liebeslied for piano, S 566Wie singt die Lerche schön, S 312Études d'exécution transcendante d'après Paganini, S 140Études d’exécution transcendante, S139 Nr.10: Presto molto agitatoÉtudes d’exécution transcendante, S139 Nr.11: Harmonies du SoirÉvocation à la Chapelle Sixtine, S 651Über allen Gipfeln ist Ruh, S 306