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Komponist: Liszt, Franz (1811-1886)

© Franz Hanfstaengl, 1858
© Franz Hanfstaengl, 1858
Februar 2019

OsloNorwegian and new

Grenager, Liszt, Schumann
The Norwegian Radio Orchestra; Miguel Harth-Bedoya; Christian Hundsnes Grøvlen

WienLiszt & Prokofjew

Liszt, Prokofjew
Wiener Symphoniker; Alain Altinoglu; Nora Gubisch; Denis Matsuev; Singverein der Gesellschaft der Musikfreunde in Wien; Johannes Prinz

BudapestHungarian Gems 2 / Erkel / Szabó / Liszt / Weiner / Ránki

Erkel, Liszt, Weiner, Ránki
Concerto Budapest; Ádám Medveczky; Andrea Brassói-Jőrös

ChicagoBehzod Abduraimov

Liszt, Prokofjew
Behzod Abduraimov, Klavier

QuebecBenjamin Grosvenor au Club musical de Québec

© Patrick Allen_Opera Omnia
Schumann, Janáček, Prokofjew, Liszt
Benjamin Grosvenor, Klavier
Neue Kritikenmehr...

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.

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.

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, S1392 Légendes, for orchestra, S 175A Faust Symphony, S 108: Nocturnal processionAnnées 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, Italie: Sonetto del Petrarca no. 123, S 161 no. 6Années de pèlerinage, Deuxième année, Italie: Sonetto del Petrarca no. 47, S 161 no. 4Années 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: Les jeux d'eaux à la villa d'Este, S 163 no. 4Années de pèlerinage, Troisième année: Sunt lacrymae rerum, S 163 no. 5Années de pèlerinage, Troixième année, S 163Another PlaceAuf dem Wasser zu singen, S 558 no. 2 (transcribed from Schubert D 774)Ausgewählte LiederBagatelle sans Tonalite, S 216aBallade no. 2 in B minor, S 171Bist du, S 277ChristusConsolation Nr. 2 in E-Dur, S172 Nr.2Consolation Nr. 3 in Des-Dur, S172 Nr.3Consolation in Des-Dur, S172 Nr.4Consolation no. 1 in E major, S 172Consolation no. 5 in E major, S 172Consolation no. 6 in E major, S 172Dante SymphonyDer du von dem Himmel bist , S 279Die Lorelei, S 273Die stille Wasserrose, S 321Eine Faust-Symphonie in drei Charakterbildern, S 108Erlkönig (transcribed from Schubert), S 558 no.4Fantasie und Fugee zu "Ad nos, ad salutarem undam" S 259Fantasy and fugue in G minor by JS Bach , BWV 542, S 463Fantasy on Hungarian folk melodies S 123Festklänge, symphonic poem, S 101Frühlingsnacht, S568 (transcription from Robert Schumann)FunéraillesGastibelzaGrand Études de Paganini, S141 Nr.3 in gis-Moll "La Campanella"Grandes Études de Paganini S 141: no. 6 in A minor "Theme and Variations"Gretchen am spinnrade, D 558 no. 8 (transcribed from Schubert D 118)Harmonies Poétiques et ReligieusesHarmonies poétiques et religieuses – Ave Maria, S. 173Harmonies poétiques et religieuses: Benediction de Dieu dans la Solitude, S 173 no. 3Harmonies poétiques et religieuses: Funérailles, S173 Nr.7Harmonies poétiques et religieuses: Pensée des morts, S 173 no.4Hungarian Coronation Mass, S 11Hunnenschlacht, S 105Ich möchte hingehn, S 296Ihr Glocken von Marling, S 328Im Rhein, im schönen Strome, S 272Impromptu (Nocturne), S 191Isolde'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, S178La Lugubre Gondola for piano, S 200 no. 1Les 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 ArmandMazeppa, Symphonische Dichtung Nr. 6Mephisto waltz no. 2, S 515Mephistowalzer Nr. 1, "Der Tanz in der Dorfschenke", S 514Molitva (Gebet), S 331Nocturne no. 3 in A flat major, Op.62 no. 1, S 541Nuages gris (Grey Clouds), S 199Orpheus, symphonic poem no. 4 for orchestra, S 98Prometheus, S 99Präludium und Fuge über den Namen BACH, S 260Rhapsodie Espagnole, S254Romance Oubliée, S 527Réminiscences de Don JuanRéminiscences de Norma, S 394Ständchen "Horch, horch! die Lerch" S 558 no. 9 (transcribed from Schubert's D 889)Ständchen no. 7 (transcribed from Schubert's Schwanengesang)Tasso: Lament and Triumph, symphonic poem, S 96Totentanz for piano and orchestra, S 126Totentanz, S 525Tre sonetti di Petrarca, S 270Trois odes funèbres, S 112: Le triomphe funèbre du TasseTwo Episodes from Lenau's Faust, S. 110Ungarische Rhapsodie Nr. 12 in cis-Moll, S244/12Ungarische Rhapsodie Nr. 14 in f-Moll, S244/14Ungarische Rhapsodie Nr. 15 in a-Moll, "Rakoczy-Marsch", S244/15Ungarische Rhapsodie Nr. 19 in d-Moll, S623/19Ungarische 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", S244/9Unstern! Sinsitre, disastro, S 208Valse caprice d'après Schubert in A minor, S 427 no.6Valse oubliée, S 215 no. 2Variations on a theme from Weinen, Klagen, Sorgen, Zagen by JS Bach, S 180Venezia e NapoliVexilla Regis prodeunt, S 185Via Crucis, S 53Von der Wiege bis zum Grabe (From the Cradle to the grave), Symphonic Poem, S 107Weinen, Klagen, Sorgen, Zagen, organ prelude after JS Bach cantata, S 179Widmung, transcription of Schumann's liebeslied for piano, S 566Études 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 SoirÉtudes d’exécution transcendante, S139 Nr.4: MazeppaÉtudes d’exécution transcendante, S139 Nr.5: Feux FolletsÉtudes d’exécution transcendante, S139 Nr.8: Wilde JagdÜber allen Gipfeln ist Ruh, S 306