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Compositor: Liszt, Franz (1811-1886)

Buscador de conciertos de música clásica, óperas, espectáculos de ballet y danza | Liszt
© Franz Hanfstaengl, 1858
© Franz Hanfstaengl, 1858
julio 2020
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ÁmsterdamPianist Nino Gvetadze: Liszt and Schumann

Pianist Nino Gvetadze: Liszt and Schumann
Schumann, Liszt
Nino Gvetadze, Piano

RigaYoav Levanon piano

Riga Tourism Development Bureau
Mendelssohn, Beethoven, Chopin, Liszt
Yoav Levanon, Piano

CheltenhamAnna Fedorova: Storyteller

© Marco Borggreve
Liszt, Scriabin, Chopin
Anna Fedorova, Piano

Kuhmo“good artists copy, great artists steal” Picasso

Kuhmo Chamber Music Festival
Mozart, Liszt, Tchaikovsky
Kuhmo Chamber Soloists

KuhmoMaria

Kuhmo Chamber Music Festival
Pergolesi, Liszt, Gounod, Piazzolla
Kuhmo Chamber Soloists
Últimas críticasVer más...

La musicalidad de las palabras

© Centro Nacional de Difusión Musical (CNDM) | Ben Vine
El XXV Ciclo de Lied cerró con un programa representativo en lo que a este repertorio se refiere: Schubert, Schumann, Brahms o Wolf, en una velada que se articuló a través de la alternancia de lieder, dúos, melodramas y poesías recitadas con Thomas Quasthoff, Michael Schade y Florian Boesch.

Apoteosis bruckneriano en el Festival de Santander

El pianista Yefim Bronfman y la Filarmónica de Rotterdam bajo la dirección de  Yannick Nézet-Séguin © Pedro Puente Hoyos | Festival Internacional de Santander
Sorprendió la excitación que se manifestó en el transcurso del recorrido y Bronfman, en un estado de forma asombroso, brindó portentosas muestras de su dote al teclado. 

Fantasía feraz: Tonhalle-Orchester Zürich

Los integrantes de la Tonhalle-Orchester Zürich © Paolo Dutto
Sobresalieron las intervenciones solistas de la madera, la textura de archi -cimentada, fundamentalmente, en el balance entre bajos y violines logrado por Bringuier- y la aportación cromática de la percusión y el arpa. La fuerza de los tutti fue patente, pero operando mediante un contorno nebuloso y conscientemente difuminado, ciertamente apropiado para el espíritu de la sinfonía. 

Khatia Buniatishvili en Oviedo: una velada de grandes contrastes

La pianista Khatia Buniatishvili presentó en Oviedo un recital integrado por obras de Brahms, Tchaikosky y Liszt. Resultó ser una velada llena de contrastes en la que la pianista nos llevó desde la sonata de Brahms extendida en sus tempi y de ataques impetuosos, hasta la Rapsodia española de sonoridad limpia y perfilada.

Conocemos a Vanessa Benelli en el Auditorio Duque de Pastrana

La pianista Vanessa Benelli Mosell ha tocado por vez primera en Madrid © Michele Maccarrone
La Fundación Excelentia, en el marco de su ciclo “El universo del piano”, ha invitado a Vanesa Benelli Mosell, una intérprete de corta trayectoria todavía, pero que resuelve con seguridad las dificultades técnicas y que nos presentó a un Debussy claro y expresivo.
Biography

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.

Listado de obras
2 Konzertetüden: Waldesrauschen (forest murmurs), S 145 no. 13 Preludes: Prelude in E minor, S 6623 Sonetti del Petrarca: I' vidi in terra angelici costumi, S 2703 Sonetti di Petrarca, S 1583 Sonnetti del Petrarca: Pace non trovo, S 2706 Chants Polonais (after Chopin Op. 74), S 480: Frühling (Wiosna) no.26 Consolations, S 172A Faust Symphony, S 108Adélaïde de Beethoven, S 466Aida: Danza sacra e duetto finale, transcription from Verdi, S 436/R 269An die ferne Geliebte S469Anfangs wollt' ich fast verzagen, S 311Années 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. 104, S 161 no. 5Années 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, Première année: Suisse, S 160: Chapelle de Guillaume TellAnnées 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. 4Auf dem Wasser zu singen, S 558 no. 2 (transcribed from Schubert D 774)Aus Lohengrin: Elsa's Traum, S.446/2Aus Tannhäuser: O du mein holder Abendstern, S.444Ave Maria (transcribed from Schubert), S 558/12Balada núm. 2 en si menor, S 171Capriccio alla turca sur des motifs de Beethoven, S. 388Concert Paraphrase on Ernani II, S 432Concierto para piano núm. 1 en mi bemol mayor, S 124Concierto para piano núm. 2 en la mayor, S 125Consolation no. 4 in D flat major, S 172Danse macabre, piano transcr. of Camille Saint-Saëns' Op.40, S 555Der Lindenbaum (transcribed from Schubert's Winterreise), S 561Der du von dem Himmel bist , S 279Des Tages laute Stimmen schweigen, S 337Die Fischertochter, S 325Die Lorelei, S 273Die Macht der Musik, S302Du bist die Ruh, S 558 no. 3 (transcribed from Schubert D 776)Du bist wie eine Blume, S 287Ein Fichtenbaum steht einsam, S 309Elegy no. 2, S 197Es rauschen die Winde, S 294Es war ein König in Thule, S 278Fantastic Rondo on a Spanish theme "El Contrabandista," S 252Fantasy and fugue in G minor by JS Bach , BWV 542, S 463Faribolo Pastour, S. 236/1Finale 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, S 173 no. 7Hexaméron, Variations on the march from Bellini's Il Puriatani, S 392Hunnenschlacht, S 105Ich scheide, S 319Im Rhein, im schönen Strome, S 272Impromptu (Nocturne), S 191Introduction 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 447J'ai perdu ma force et ma vie, S 327Jeanne d'Arc au bûcher, S 293Kling leise, mein Lied, S 301La Cloche Sonne, S 238La Lugubre Gondola for piano, S 200 no. 2Les Préludes, symphonic poem no. 3, S 97Liebestraum no. 3 in A flat major, S 541Légende no. 1 "Saint François d'Assise: la prédication aux oiseaux", S 175Mephisto Polka, S 217Mephisto Waltz no. 1, "Der Tanz in der Dorfschenke", S 514Mephisto Waltz no. 3, S 216Mephisto Waltz no. 4, S 696Mignons Lied: Kennst du das Land, S 275Morgens steh' ich auf und frage, S 290Mosonyi's Funeral Procession, S 194Muttergottes-Sträusslein zum Mai-Monate, S 316Nuages gris (Grey Clouds), S 199O Meer im Abendstrahl, S 344ObrasOrpheus, symphonic poem no. 4 for orchestra, S 98Paraphrase on Verdi's "Il Trovatore", S 433Paraphrase on a Waltz from Gounod's "Faust", S 407Prelude and Fuge for A minor by JS Bach (BWV543) transcribed for solo piano, S 462/1Prelude and Fugue on BACH, S 260Rapsodia húngara núm. 10 en mi mayor, S 244/10Rapsodia húngara núm. 2 en do sostenido menor, S 244/2Rigoletto: Paraphrase de Concert, S 434Romance Oubliée, S 527Réminiscences de Boccanegra, S 438Réminiscences de Don JuanSalve Maria de Jérusalem, S 431 (trans. para piano de I lombardi de Verdi)Scherzo und Marsch, S 177Schwanengesang S560 (after Schubert’s D957 and D965a)Schwebe, schwebe, blaues Auge, S305/1Sinfonía DanteSinfonías de Beethoven, S 464: Sinfonía núm. 1 en do mayor, Op.21Sinfonías de Beethoven, S 464: Sinfonía núm. 2 en re menor, Op.36Sinfonías de Beethoven, S 464: Sinfonía núm. 3 en mi bemol mayor "Heroica", Op.55Sinfonías de Beethoven, S 464: Sinfonía núm. 4 en si bemol mayor, Op.60Sinfonías de Beethoven, S 464: Sinfonía núm. 5 en do menor, Op.67Sinfonías de Beethoven, S 464: Sinfonía núm. 6 en fa mayor "Pastoral", Op.68Sinfonías de Beethoven, S 464: Sinfonía núm. 7 en la mayor, Op.92Sinfonías de Beethoven, S 464: Sinfonía núm. 8 en fa mayor, Op.93Sinfonías de Beethoven, S 464: Sinfonía núm. 9 en re menor "Coral", Op.125Sonata para piano en si menor, S 178Transcendental Études, S 139: no. 11 Harmonies du SoirTranscendental Études, S 139: no. 12 Chasse neigeTranscendental Études, S 139: no. 6 VisionTranscendental Études, S 139: no. 8 Wilde JagdValse oubliée in F sharp minor, S215 no.1Valse oubliée, S215 no.2Variation No. 24 on a Theme by DiabelliVariations on a theme from Weinen, Klagen, Sorgen, Zagen by JS Bach, S 180Venezia e NapoliVergiftet sind meine Lieder (My songs are poisoned), S 289Weinen, Klagen, Sorgen, Zagen, organ prelude after JS Bach cantata, S 179Widmung, transcription of Schumann's liebeslied for piano, S 566Wiegenlied, S 198Wo weilt er? S295introduction et Polonaise de l'opéra "i puritani" S 391À la Chapelle Sixtine (Miserere d'Allegri et Ave verum corpus de Mozart) S.461Über allen Gipfeln ist Ruh, S 306