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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
Oktober 2020
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BambergOrgan Concert with Percussions and Trumpet

© Peter Eberts
Cochereau, Liszt, Mozart, Mendelssohn Bartholdy, Escaich
Karol Mossakowski; Holger Brust; Jens Herz; Markus Mester

LondonBBC Radio 3 Lunchtime: Elgar plus

London Symphony Orchestra
Elgar, Kreisler, Liszt, Schumann
Nash Ensemble

LondonKhatia Buniatishvili in recital

Barbican
Bach, Liszt, Brahms, Chopin, Prokofjew
Khatia Buniatishvili, Klavier

LondonRomantics and Englishmen

© Benjamin Ealovega
Tippett, Liszt, Elgar
London Philharmonic Orchestra; Edward Gardner; Seong-Jin Cho

BambergJohann Sebastian Bach's Birthday

© Uwe Arens
Nystedt, Bach, Lauridsen, Liszt
Tarmo Vaask; Christian Schmitt; Ulrich Witteler; Choir of Bamberg Symphony Orchestra
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.
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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.
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Verborgene Genies: Sergei Babayan in München

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

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.

Werkverzeichnis
12 Études d’exécution transcendante, S1396 Consolations, S172Aida: Danza sacra e duetto finale, transcription from Verdi, S 436/R 269An die ferne Geliebte S469Années 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, Deuxième année, Italien: Sonetto del Petrarca Nr. 104, S.161 Nr.5Années de pèlerinage, Première année, S 160: Suisse: Vallée d'ObermannAnnées de pèlerinage, Première année: Suisse, S 160Années de pèlerinage, Troisième année, S 163Années de pèlerinage, Troisième année: Aux cyprès de la Villa d'Este I: Thrénodie, S 163 no. 2Années de pèlerinage, Troisième année: Aux cyprès de la Villa d'Este II: Thrénodie, S 163 no. 3Années de pèlerinage, Troisième année: Les jeux d'eaux à la villa d'Este, S 163 no. 4Ave Maria (transcribed from Schubert), S 558/12Ballade no. 2 in B minor, S 171Concert Paraphrase on Ernani II, S 432Consolation Nr. 3 in Des-Dur, S172 Nr.3Consolation in Des-Dur, S172 Nr.4Der du von dem Himmel bist , S 279Eine Faust-Symphonie in drei Charakterbildern, S 108Es war ein König in Thule, S 278Fantasie and fugue on the theme B-A-C-H, S 529Fantasy and fugue in G minor by JS Bach , BWV 542, S 463Finale de Don Carlos de Verdi – Coro di festa e marcia funebre, S. 435Grand galop chromatique S 219Harmonies Poétiques et ReligieusesHarmonies poétiques et religieuses: Benediction de Dieu dans la Solitude, S 173 no. 3Harmonies poétiques et religieuses: Funérailles, S173 Nr.7In der Ferne (transcribed from Schubert), S 560/6Introduction and Fugue from Bach's Cantata no. 21 "Ich hatte viel Bekümmernis", S 660Isolde's Liebestod from Wagner's Tristan und Isolde, transc. for piano, S 447Jeanne d'Arc au bûcher, S 293Klavierkonzert Nr. 1 Es-Dur, S 124Klavierkonzert Nr. 2 in A-Dur, S125Klaviersonate in h-Moll, S178La Cloche Sonne, S 238La Lugubre Gondola for piano, S 200 no. 2Les 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 175Mephisto Polka, S 217Mephistowalzer Nr. 1, "Der Tanz in der Dorfschenke", S 514Mosonyi's Funeral Procession, S 194Nuages gris (Grey Clouds), S 199Oh! Quand je dors, S 282Paraphrase on Verdi's "Il Trovatore", S 433Prelude and Fuge for A minor by JS Bach (BWV543) transcribed for solo piano, S 462/1Präludium und Fuge über den Namen BACH, S 260Rigoletto: Paraphrase de Concert, S 434Romance Oubliée, S 527Réminiscences de Boccanegra, S 438Salve Maria de Jérusalem, S 431 (trans. para piano de I lombardi de Verdi)Ständchen, from Schubert's Leise flehen meine lieder, D 957, S 560/7Tre sonetti di Petrarca, S 270Two Episodes from Lenau's Faust, S. 110Ungarische Rhapsodie Nr. 2 in cis-Moll, S244/2Ungarische Rhapsodie Nr. 6 in Des-Dur, S244/6Unstern! Sinsitre, disastro, S 208Variations on a theme from Weinen, Klagen, Sorgen, Zagen by JS Bach, S 180Weinen, Klagen, Sorgen, Zagen, organ prelude after JS Bach cantata, S 179Études d’exécution transcendante, S139 Nr.6: VisionÉtudes d’exécution transcendante, S139 Nr.8: Wilde JagdÜber allen Gipfeln ist Ruh, S 306