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Compositeur: Liszt, Franz (1811-1886)

© Franz Hanfstaengl, 1858
© Franz Hanfstaengl, 1858
septembre 2018
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Spectacles à venirEn voir plus...

LondresLest We Forget

ENB in Liam Scarlett's No Man's Land © Laurent Liotardo
Liszt, Cowton, Pook
Liam Scarlett; Russell Maliphant; Akram Khan; English National Ballet

UtrechtDina Ivanova & Hyuk Lee

Liszt, Stravinsky, Ravel
Dina Invanova; Hyuk Lee

LondresWarren Mailley-Smith at St. John's

Beethoven, Chopin, Ravel, Schubert, Liszt
Warren Mailley-Smith, Piano

BudapestOrgan Stories VIII - Selected organ works by Liszt

Organ Stories VIII - Selected organ works by Liszt
Liszt
László Fassang; Pál Mácsai

AmsterdamTrevor Pinnock, Beatrice Rana and RCO: Haydn, Liszt and Chopin

© Renske Vrolijk
Chopin, Liszt, Haydn
Royal Concertgebouw Orchestra; Trevor Pinnock; Beatrice Rana
Critiques récentesEn voir plus...

Martha Argerich et Charles Dutoit ensoleillent Montreux

Charles Dutoit © Todd Rosenberg
Au Septembre Musical de Montreux, Charles Dutoit galvanise les troupes de l’European Philharmonic of Switzerland et séduit le public par l’excellence de son interprétation.

Deux pianos transcendent les enfers, au festival Liszt en Provence

Arthur Ancelle et Ludmila Berlinskaia © Ira Polyarnaya
Le duo Ludmila Berlinskaia – Arthur Ancelle a proposé un fastueux programme de compositions et d'arrangements pour deux pianos au festival Liszt en Provence.

David Kadouch, de Marie-Antoinette aux champs de coton

David Kadouch © Christophe Gremiot
La nuit est tombée, la nature s'est tue, le pianiste est là sur scène qui prend possession de la musique qu'il joue avec une éloquence si persuasive qu'on est captivé.

Ballades transgressives d’Ilya Rashkovskiy à la Gaveau

Ilya Rashkovskiy © ilyarashkovskiy.com
Ilya Rashkovskiy excelle dans toutes les parties romantiques, lentes et lyriques. Son approche est cependant trop virtuose, musclée et fougueuse dans toutes les parties techniques et rapides.

Ivo Pogorelich ou l'expérience du « degré zéro de la musique »

Ivo Pogorelich © Alfonso Batalla
Un récital d’Ivo Pogorelich est toujours une expérience musicale hautement singulière. Ce récital à la Salle Gaveau n'a pas dérogé à la règle. 
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.

Liste des oeuvres
12 Etudes transcendentales, S 1393 Etudes de concert: Un sospiro, S 144 no. 33 sonetti di Petrarca, S 1586 Chants Polonais (after Chopin Op. 74), S 480: Frühling (Wiosna) no.26 Chants Polonais (d'après Chopin Op.74), S 480: Mädchens Wunsch (Zyczenie)/ Souhaits d’ une jeune fille no. 1Aida: Danza sacra e duetto finale, transcription de Verdi, S 436/ R 269An die ferne Geliebte S469Années de Pèlerinage, Deuxième Année: Après une lecture de DanteAnnées de Pèlerinage, Troisième Année: Les jeux d'eaux à la villa d'Este, S 163 no. 4Années de pèlerinage, Deuxième année, Italie: Sonetto del Petrarca no. 104, S 161 no. 5Années de pèlerinage, Deuxième année, Italie: Sonetto del Petrarca no. 47, S 161 no. 4Another PlaceAuf dem Wasser zu singen, S 558 no. 2 (transcription de Schubert D 774)Bagatelle sans tonalité, S 216aBallade no. 2 en si mineur, S 171Bist du, S 277Ce qu'on entend sur la montagne (Bergsinfonie), poème symphonique no. 1, S 95Christus: March of the three kingsComment, disaient-ils, S 276Concerto pour piano no. 1 en mi bémol majeur, S 124Concerto pour piano no. 2 en la majeur, S 125Consolation en ré bémol majeur, S 172 no. 4Consolation no. 1 in E major, S 172Consolation no. 2 in E major, S 172Consolation no. 3 en ré bémol majeur, S 172 no. 3Consolation no. 5 in E major, S 172Consolation no. 6 in E major, S 172Dante-SymphonieDer du von dem Himmel bist , S 279Die Forelle (transcr. de Schubert), S 563/ 6Die Lorelei, S 273Die drei Zigeuner, S 320Die stille Wasserrose, S 321Du bist wie eine Blume, S 287Elégie no. 1 pour violoncelle et pianoEn Rêve, S 207Enfant, si j'étais roi, S 283Erlkönig (transcr. de Schubert), S 558/ 4Es muss ein Wunderbares sein, S 314Fantaisie et Fugue sur « Ad nos, ad salutarem undam » S 259Fantaisie et fugue sur le thème B- A- C- H, S 529Fantaisie sur des mélodies populaires hongroises S 123Faust-Symphonie, S 108Faust-Symphonie, S 108: Procession nocturneFestklänge, symphonic poem, S 101FunéraillesGrand Duo Concertante sur la romance de « Le Marin », S 128Grandes Études de Paganini S 141: no. 3 en sol mineur, « La Campanella »Grandes Études de Paganini S 141: no. 6 en la mineur « Thème et Variations »Grandes études de Paganini, S 141Gretchen am spinnrade, D 558 no. 8 (transcr. de Schubert D 118)Harmonies poétiques et religieuses: Funérailles, S 173 no. 7Harmonies poétiques et religieuses: Pensée des morts, S 173 no.4Hunnenschlacht, S 105Ihr Glocken von Marling, S 328Im Rhein, im schönen Strome, S 272Isolde’ s Liebestod du Tristan et Isolde de Wagner, transc. pour piano, S 447Kling leise, mein Lied, S 301La Gondole lugubre pour piano, S 200 no. 1La Gondole lugubre pour piano, S 200 no. 2La Gondole lugubre pour violon et piano, S 200 no. 1Les Préludes, poème symphonique no. 3, S 97Liebestraum no. 3 en la bémol majeur, S 541Lieder, diversLitanei, piano transcr. de Schubert Am Tage Aller Seelen, D. 343Marguerite et ArmandMayerlingMephisto-Valse no. 1, « Der Tanz in der Dorfschenke », S 514Mephisto-Valse no. 2, S 515No Man's LandNuages gris (Grey Clouds), S 199Oh! Quand je dors, S 282On Wings of Song, transcription from MendelssohnOrpheus, poème symphonique no. 4 pour orchestre, S 98Orphée symphonic poem, transcr. for piano trio by Saint-Saëns, S 98Paraphrase sur Il Trovatore, Op.16Prelude and Fugue on BACH, S 260Prometheus, S 99Rhapsodie Espagnole, S 254Rhapsodie hongroise no. 12 en ut dièse mineur, S 244/ 12Rhapsodie hongroise no. 2 en ut dièse mineur, S 244/ 2Rhapsodie hongroise no. 5 pour quatre mains, S 621/ 5Rhapsodie hongroise no. 6 en ré bémol majeur, S 244/ 6Rhapsodie hongroise no. 8 en fa dièse mineur, S 244/ 8Rhapsodie hongroise no. 9 en mi bémol majeur « Carnaval à Pest », S 244 no. 6Rigoletto: Paraphrase de Concert, S 434Romance Oubliée, pour violon (ou violoncelle) et piano, S 527Réminiscences de Boccanegra, S 438Réminiscences de Don JuanRéminiscences de Lucia di Lammermoor, S 397Réminiscences de Norma, S 394Salve Maria de Jérusalem, S 431 (trans. para piano de I lombardi de Verdi)Sonate pour piano en si mineur, S 178Ständchen "Horch, horch! die Lerch" S 558 no. 9 (transcribed from Schubert's D 889)Ständchen no. 7 (transcribed from Schubert's Schwanengesang)Symphonic poem no. 6 "Mazeppa", S 100Tasso: Lament and Triumph, symphonic poem, S 96Totentanz for piano and orchestra, S 126Transcendental Études, S 139: no. 10 in F minorTranscendental Études, S 139: no. 11 Harmonies du SoirTranscendental Études, S 139: no. 4 MazeppaTranscendental Études, S 139: no. 5 Feux FolletsTranscendental Études, S 139: no. 8 Wilde JagdTranscr. from Wagner's Solemn March to the Holy Grail from Parsifal, S 450Tre sonetti di Petrarca, S 270Trois odes funèbres, S 112: Le triomphe funèbre du TasseTwo Episodes from Lenau's Faust, S. 110Unstern! Sinsitre, disastro, S 208Valse caprice d'après Schubert in A minor, S 427 no.6Variations on a theme from Weinen, Klagen, Sorgen, Zagen by JS Bach, S 180Venezia e NapoliVon der Wiege bis zum Grabe (From the Cradle to the grave), Symphonic Poem, S 107Wagner's Overture to Tannhäuser, transcr. for piano, S 442Weinen, Klagen, Sorgen, Zagen, organ prelude after JS Bach cantata, S 179Wie singt die Lerche schön, S 312