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Komponist: Liszt, Franz (1811-1886)

© Franz Hanfstaengl, 1858
© Franz Hanfstaengl, 1858
Februar 2018

LiverpoolKhatia Buniatishvili, piano

Khatia Buniatishvili, piano
Brahms, Liszt, Tschaikowsky, Strawinsky
Khatia Buniatishvili, Klavier

Las Palmas de Gran CanariaOrquesta Filarmónica de Gran Canaria

Orquesta Filarmónica de Gran Canaria
Liszt, Saint-Saëns
Orquesta Filarmónica de Gran Canaria; Ramón Tebar; Gustavo Díaz-Jerez; Ángel Hortas

LondonOdyssey of Love: Liszt and his women

Lucy Parham; Joanna David; Robert Glenister

New York CityPierre-Laurent Aimard in recital

© Marco Borggreve
Obukhov, Liszt, Skrjabin, Beethoven
Pierre-Laurent Aimard, Klavier

ParisBeethoven, Chopin, Rachmaninov, Debussy, Liszt

Beethoven, Chopin, Rachmaninow, Debussy, Liszt
Giuseppe Guarrera, Klavier
Neue Kritikenmehr...

Emotional-virtuoses Feuerwerk mit Bychkov und Chamayou in Zürich

Semyon Bychkov © Musacchio Ianniello
Strauss gehört schon lange zu Semyon Bychkovs Kernrepertoire und seine Interpretation von Tschaikowskys Vierter setzte Maßstäbe.

Jugendliches Draufgängertum: Lise de la Salle mit der Philharmonia Zürich

Lise de la Salle © Stephane Gallois | Vanity Fair
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

Jean-Yves Thibaudet © Kasskara - Decca
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 © Adriano Heitman
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 © Rolf Kyburz
Vadym Kholodenko ist ein Klangmagier: sein Spiel war äußerst sprechend, bilderreich, mit blühender Agogik erzählend-plastisch und dabei unprätentiös: große Klavierkunst!

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 Sonetti di Petrarca, S 1583 Sonnetti del Petrarca: Benedetto sia il giorno, S 2703 Sonnetti del Petrarca: Pace non trovo, S 2706 Chants Polonais (after Chopin Op. 74), S 480Années de pèlerinageAnnées de pèlerinage, Deuxième année, Italie, S 161Années de pèlerinage, Deuxième année, Italie: Après une lecture du Dante. Fantasia quasi sonata, S.161 no.7Années 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, Première année: Suisse, S 160: Au bord d'une sourceAnnées de pèlerinage, Première année: Suisse, S 160: Au lac de WallenstadtAnnées de pèlerinage, Troisième année: Les jeux d'eaux à la villa d'Este, S 163 no. 4Another PlaceAuf dem Wasser zu singen, S 558 no. 2 (transcribed from Schubert D 774)Aufenthalt, transcription from Schubert, S 560/3Ave verum corpusBagatelle sans Tonalite, S 216aConcerto Pathétique, S 258Consolation Nr. 3 in Des-Dur, S172 Nr.3Der Müller und der Bach (transcription form Die Schöne Müllerin by Schubert) S 565 no. 2Die Forelle (transcribed from Schubert), S 563/6Die Lorelei, S 273Du bist wie eine Blume, S 287Eine Faust-Symphonie in drei Charakterbildern, S 108Elegy no. 2 for cello and piano, S 131 no. 2Er liebte mich so sehr! S 271Erlkönig (transcribed from Schubert), S 558 no.4Fantasia and Fugue on "Ad nos, ad salutarem undam" S 259Fantasie and fugue on the theme B-A-C-H, S 529Fruhlingsnacht, transcription of Schumann's workHunnenschlacht, S 105Im 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, S178Les Préludes, Symphonische Dichtung Nr. 3, S97Légende no. 1 "Saint François d'Assise: la prédication aux oiseaux", S 175Marguerite and ArmandMephisto waltz no. 2, S 515Mephistowalzer Nr. 1, "Der Tanz in der Dorfschenke", S 514Nuages gris (Grey Clouds), S 199Prelude and Fuge for A minor by JS Bach (BWV543) transcribed for solo piano, S 462/1Prometheus, S 99Präludium und Fuge über den Namen BACH, S 260Rhapsodie Espagnole, S254Réminiscences de Norma, S 394Sei mir gegrüßt, S 558 no. 1 (transcribed from Schubert D 741)The Black Gondola (orchestral version)Totentanz for piano and orchestra, S 126Transcr. from Wagner's Solemn March to the Holy Grail from Parsifal, S 450Ungarische Rhapsodie Nr. 1 in cis-Moll, S244/1Ungarische Rhapsodie Nr. 11 in a-Moll, S244/11Ungarische Rhapsodie Nr. 2 in cis-Moll, S244/2Ungarische Rhapsodie Nr. 3 in B-Dur, S244/3Ungarische Rhapsodie Nr. 9 in Es-Dur, "Karneval in Pest", S244/9Variations on a theme from Weinen, Klagen, Sorgen, Zagen by JS Bach, S 180Via Crucis, S 53Von 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, S139 Nr.10: Presto molto agitatoÉtudes d’exécution transcendante, S139 Nr.11: Harmonies du SoirÉtudes d’exécution transcendante, S139 Nr.9: RicordanzaÉvocation à la Chapelle Sixtine, S 651