Notre politique de confidentialité a été mise à jour pour la dernière fois le vendredi 31 janvier 2020Voir iciIgnorer
Buy tickets to Liceu's Rigoletto
Se connecter
Bachtrack logo
Agenda
Critiques
Articles
Vidéo
Site
Jeunes artistes
Voyage
AgendaCritiquesArticlesVidéo

Compositeur: Liszt, Franz (1811-1886)

Rechercher des événements de musique classique, opéra et ballet | Liszt
Biographie
Liszt, Franz

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.

Liste des oeuvres
3 Etudes de concert: Un sospiro, S 144 no. 3Années de Pèlerinage, Deuxième Année: Après une lecture de DanteAnnées de pèlerinage, Deuxième année, Italie, S 161Années 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: Sonetto del Petrarca no. 47, S 161 no. 4Années de pèlerinage, Deuxième année, Italie: Sposalizio, S 161 no. 1Années de pèlerinage, Première année: Suisse, S 160Another PlaceConcerto pour piano no. 1 en mi bémol majeur, S 124Concerto pour piano no. 2 en la majeur, S 125Consolation no. 3 en ré bémol majeur, S 172 no. 3Fantaisie et Fugue sur « Ad nos, ad salutarem undam » S 259Fantaisie sur des mélodies populaires hongroises S 123Faust-Symphonie, S 108Harmonies poétiques et religieuses: Funérailles, S 173 no. 7Isolde’ s Liebestod du Tristan et Isolde de Wagner, transc. pour piano, S 447Les Préludes, poème symphonique no. 3, S 97Liebestraum no. 3 en la bémol majeur, S 541LiveMalédiction pour piano et Orchestre à cordes, S 121MayerlingMephisto-Valse no. 1, « Der Tanz in der Dorfschenke », S 514Mephisto-Valse no. 2, S 515Organ chorale 'Nun danket alle Gott', S 674cOrpheus, poème symphonique no. 4 pour orchestre, S 98Prometheus, S 99Rhapsodie hongroise no. 1 en ut dièse mineur, S 244/ 1Rhapsodie hongroise no. 2 en ut dièse mineur, S 244/ 2Rhapsodie hongroise no. 6 en ré bémol majeur, S 244/ 6Rigoletto: Paraphrase de Concert, S 434Réminiscences de Norma, S 394Sonate pour piano en si mineur, S 178Totentanz for piano and orchestra, S 126Two Episodes from Lenau's Faust, S. 110Variations on a theme from Weinen, Klagen, Sorgen, Zagen by JS Bach, S 180Venezia e NapoliWeinen, Klagen, Sorgen, Zagen, organ prelude after JS Bach cantata, S 179