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Drapeau de Hongrie

Compositeur: Liszt, Franz (1811-1886)

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

LondresLunchtime Recital - Michelle Candotti (piano)

Lunchtime Recital - Michelle Candotti (piano)
Chopin, Bartók, Liszt
Michelle Candotti, Piano

LondresSamuel Bristow

Couperin, Laukvik, Hough, Liszt
Samuel Bristow, Orgue

LondresShun Yin Ho

Bach, Liszt, Say
Shun Yin Ho, Piano

CheltenhamBBC Radio 3 New Generation Artists III

BBC Radio 3 New Generation Artists III
Mozart, Chopin, Liszt, Grieg
Mariam Batsashvili, Piano

Castel San Pietro TermeAlexander Romanovsky

Liszt, Chopin
Alexander Romanovsky, Piano
Critiques récentesEn voir plus...

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. 

Giuseppe Guarrera à la Fondation Vuitton : l'impétuosité du tempérament

Giuseppe Guarrera © Giuseppe Guarrera
Personnalité musicale forte, volcanique, le jeune pianiste sicilien Giuseppe Guarrera nous offre un programme Beethoven-Rachmaninov-Chopin-Debussy-Liszt.

Behzod Abduraimov à la Fondation Louis Vuitton, ou comment le piano prend de l'altitude

Behzod Abduraimov © Ben Ealovega | Decca
Récital de haut vol que celui du pianiste ouzbek Behzod Abduraimov à la Fondation Louis Vuitton. Avec un programme s'articulant principalement autour de la Sonate en si de Liszt et de la Sonate n°6 de Prokofiev, c'est une magnifique leçon de piano qu'il nous offre.

L’âme et la machine : Karol Mossakowski insuffle à l’orgue de Radio France des notes orchestrales

Karol Mossakowski © Karol Mossakowski
Une ambition affichée : faire sonner l’infini des possibles du plus monumental des instruments sur des partitions qui ne lui sont pourtant pas destinées. 

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 Sonnetti del Petrarca: Pace non trovo, S 2703 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. 1Adélaïde de Beethoven, S 466Années de Pèlerinage, Deuxième Année: Après une lecture de DanteAnnées de pèlerinageAnnées 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, Première année, S 160: Suisse: Vallée d'ObermannAnother PlaceAuf dem Wasser zu singen, S 558 no. 2 (transcription de Schubert D 774)Aufenthalt, transcription de Schubert, S 560/ 3Ave verum corpusBallade no. 2 en si mineur, S 171Concert Paraphrase sur Ernani II, S 432Concerto pour piano no. 1 en mi bémol majeur, S 124Concerto pour piano no. 2 en la majeur, S 125Der Müller und der Bach (transcription form Die Schöne Müllerin by Schubert) S 565 no. 2Der du von dem Himmel bist , S 279Die Forelle (transcr. de Schubert), S 563/ 6Die Lorelei, S 273Die stille Wasserrose, S 321Du bist wie eine Blume, S 287En Rêve, S 207Enfant, si j'étais roi, S 283Erlkönig (transcr. de Schubert), S 558/ 4Fantaisie et Fugue sur « Ad nos, ad salutarem undam » S 259Fantaisie et fugue sur le thème B- A- C- H, S 529Fantaisie sur des thèmes de Mozart « Figaro Fantaisie », S 697Faust-Symphonie, S 108Faust-Symphonie, S 108: Procession nocturneFestklänge, symphonic poem, S 101Grandes Études de Paganini S 141: no. 3 en sol mineur, « La Campanella »Gretchen am spinnrade, D 558 no. 8 (transcr. de Schubert D 118)Harmonies poétiques et religieuses: Bénédiction de Dieu dans la Solitude, S 173 no. 3Harmonies poétiques et religieuses: Funérailles, S 173 no. 7Harmonies poétiques et religieuses: Pensée des morts, S 173 no.4Ihr Glocken von Marling, S 328Im Rhein, im schönen Strome, S 272Isolde’ s Liebestod du Tristan et Isolde de Wagner, transc. pour piano, S 447La Gondole lugubre pour piano, S 200 no. 1Les Préludes, poème symphonique no. 3, S 97Liebestraum no. 3 en la bémol majeur, S 541Lieder, diversMalédiction pour piano et Orchestre à cordes, S 121Marguerite et ArmandMayerlingMephisto-Valse no. 1, « Der Tanz in der Dorfschenke », S 514Mephisto-Valse no. 2, S 515No Man's LandOh! Quand je dors, S 282Orpheus, 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. 1 en ut dièse mineur, S 244/ 1Rhapsodie hongroise no. 2 en ut dièse mineur, S 244/ 2Rhapsodie hongroise no. 3 en si bémol majeur, S 244/ 3Rhapsodie hongroise no. 6 en ré bémol majeur, S 244/ 6Rhapsodie hongroise no. 9 en mi bémol majeur « Carnaval à Pest », S 244 no. 6Rigoletto: Paraphrase de Concert, S 434Réminiscences de Don JuanRéminiscences de Norma, S 394Salve Polonia, S.113/2Selected songsSonate pour piano en si mineur, S 178Ständchen "Horch, horch! die Lerch" S 558 no. 9 (transcribed from Schubert's D 889)Tasso: Lament and Triumph, symphonic poem, S 96Totentanz for piano and orchestra, S 126Totentanz, S 525Transcendental Études, S 139: no. 10 in F minorTranscendental Études, S 139: no. 11 Harmonies du SoirTranscendental Études, S 139: no. 12 Chasse neigeTranscendental 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 450Valse 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 NapoliVia 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 566