Franz Liszt, Hungarian born Liszt Ferenc, (born October 22, 1811, Doborjan, Kingdom of Hungary, Austrian Empire [now the Austrian Red] – died July 31, 1886, Bayreuth, Germany), Hungarian piano virtuoso and composer. His many notable works include his twelve symphonic poems, two (finished) piano concertos, several sacred choral works, and various works for solo piano.
Youth and Primary Education
Liszt’s father, Adam Liszt, was a civil servant, the palace of Prince Nicholas Esterházy and many famous musicians attended this palace in Eisenstadt. Adam Liszt was a talented amateur musician who played the cello in court concerts. Franz was already drawn to the piano at the age of five and soon began taking lessons from his father. He became interested in both church and Roman music. As a child, he developed into a religious child under the influence of his father, who spent two years in a Franciscan monastery.
Franz started composing at the age of eight. When he was only nine, he made his public debut as a pianist in Sopron & Pozuni (now Bratislava, Slovakia). His playing impressed the local Hungarian nobles so much that they left money to pay for his musical education for the next six years. Adam took a leave of absence from his post and took Franz to Vienna, where he studied piano with the composer and pianist Karl Czerny, a pupil of Ludwig van Beethoven, and composition with Antonio Salieri, the Vienna director of music. did. To research. He has given numerous concerts in Vienna with great success.. The legend that Beethoven attended one of Liszt’s concerts and kissed Sindon on the forehead is considered OD, but Liszt certainly met Beethoven.
Liszt moved to Paris with his family in 1823, giving concerts in Germany along the way. He was refused admission to the Paris Conservatory because he was a foreigner. Instead he studied with Anton Risha, a theorist who was a student of Joseph Haydn’s brother Michael, and Ferdinando Paer, director of the Italian Theater in Paris and composer of light operas. Liszt’s first appearance in Paris on March 7, 1824 was sensational. More concerts soon followed, as did a visit to London in June. She toured England again the following year, playing with George IV at Windsor Castle and also visiting Manchester, where her new big show was given the first time. The piece was used as a prelude to his one-act opera Don Sancho, which was performed at the Paris Opéra on 17 October 1825. In 1826 he visited France and Switzerland, returning to England again the following year. Suffering from a nervous breakdown, List expressed a desire to become a priest. To improve his health, his father took him to Brogne to bathe in the sea. So, Adam died of typhoid fever. Liszt returns to Paris and sends his mother to join him. During his travels he returned to the Austrian province of Styria.
Liszt now made his living mainly as a piano teacher, and in 1828 he fell in love with one of his pupils. When his father insisted that the bond be severed, Liszt again fell seriously ill; He was considered so close to death that his obituary appeared in a Paris newspaper. After his illness, he was subjected to a long period of professional depression and self-doubt. He did not touch the piano for over a year, and it was only through his mother’s efforts that he discontinued his membership in the priesthood. He experienced a lot of religious skepticism. During this period, Liszt was not very interested in the profession of an actor. He made up for his lack of prior education by reading widely and coming into contact with many of the leading artists of the time, including Alphonse de Lamartine, Victor Hugo, and Heinrich Heine. He orchestrated a revolutionary symphony during the July Revolution of 1830, which led to the abdication of Charles X of France and the coronation of Louis-Philippe.
Between 1830 and 1832 he met three men who greatly influenced his artistic life. In the late 1830s he first met Hector Berlioz and heard the first performance of his Symphonie fantastique. From Berlioz he inherited the romantic direction of the orchestra and the demonic traits that remained with him for life. He accomplished the seemingly impossible feat of transcribing Berlioz’s Symphonie Fantastique for piano in 1833, and he assisted by transcribing Berlioz’s other works and playing them in concert. In March 1831 he heard Niccolo Paganini play for the first time. He became interested again in virtuosic technique and decided to transfer some of Paganini’s fantastic violin effects to the piano, writing a fantasy for his La Campanella. During this period he also met Frédéric Chopin, whose poetic musical style had a profound influence on Liszt.
The Years with Marie d’Gault by Franz Liszt
In 1834 Liszt emerged as a mature composer with the piece for piano solo harmonies poétiques et religonuses, based on a collection of poems by Alphonse de Lamartine and a series of three appearances. The lyrical style of these works contrasts sharply with his early compositions, which reflect the style of his teacher Czerny. In the same year, through the poet and playwright Alfred de Mousset, he met and became romantically involved with the novelist Georges Sand, as well as with Marie de Flavigny, Countess of Duagul. In 1835 he left his wife and family to join Liszt in Switzerland. Their first daughter, Blandine, was born on December 18 in Geneva. Liszt and Madame de Gaulle lived together for four years, mostly in Switzerland and Italy, although Liszt occasionally visited Paris. He also taught at the newly founded Geneva Conservatory and published a series of essays, On the Status of Artists, in which he attempted to elevate the status of the artist, who until then had been seen as a sort of superior servant. A respected member of society
Liszt, in the first two volumes of a collection of works for solo piano collectively known as the Years of Pilgrimage (1837–1854; Years of Pilgrimage), poetically evoking Swiss and Italian scenes, Days with Madame Wrote Dagou. He also wrote the first mature edition of Transcendental Studies (1838, 1851). These are works for solo piano based on his Etude en 48 expositions de jeunesse, but here they are transformed into works of eerie quality. He arranged six works by Paganini (five studies and La Campanella), three symphonies by Beethoven, parts of songs by Franz Schubert and other works by Berlioz for piano. He created these manuscripts to make the work of these men more accessible and to spread his appreciation for their much-neglected music at the time. Liszt also wrote a number of fantasias based on popular operas of the time and delighted audiences at his concerts.
Their second daughter Cosima was born in 1837 and their son Daniel in 1839, but by the end of the year his relationship with Madame de Dugo had soured and he returned to Paris with the children. Liszt then resumed his career as a virtuoso, raising funds for the Beethoven Memorial Committee in Bonn to complete the Beethoven monument.
For the next eight years Liszt traveled across Europe, giving concerts in distant Ireland, Portugal, Turkey and Russia. Until 1844 he spent his summer holidays with Madame Dagur and her children on the Rhine’s Nonnenvelt Island. Then they finally parted ways and Liszt took the children to Paris. Liszt’s talent and success as a virtuoso peaked during this period. I got compliments all over the place. Gifts and decorations were showered on him, and he had many mistresses, including the dancers Laura Montez and Marie Duplessis. His visit to Hungary in 1839-1840, the first visit since his childhood, is a significant event. His renewed interest in Gypsy music laid the foundation for his Hungarian Rhapsody and other piano pieces composed in the Hungarian style. He also wrote a cantata for the Beethoven Festival in 1845, his first work for choir and orchestra, as well as some smaller choral works.
Books in Weimar
In February 1847, Liszt met Princess Caroline Sayn-Wittgenstein in Kyiv and thereafter spent some time at her home in Poland. She quickly convinced him to give up his career as a virtuoso and focus on songwriting. In September of the same year he gave his last concert in Yelizavetgrad (Kirovograd). From 1843 Liszt was the outstanding musical director of the German court in Weimar and gave concerts there from 1844. In 1848 List decided to settle there permanently. He later joined the princess in her failed attempt to divorce her. husband. They lived together in Weimar and Liszt had ample time to conduct and compose for the court orchestra in operas and concerts. This period was marked by his greatest works, the first twelve symphonic poems, the Faust Symphony (1854; trans. 1857–61), Symphony for Dante’s Divine Comedy (1855–56), Piano Sonata in B minor (1852–53), Piano Concerto no. 1 in E flat major (1849; rev. 1853 and 1856), and Piano Concerto n. 2 in A major (1839; Rev. 1849-61). (The Piano Concerto No. 3 in E-flat, composed in 1839, was not performed during his lifetime and was not discovered until 1988.) Tottenz’s works for piano and orchestra during the Weimar Liszt era Transcendence A revised edition of the etude and the Paganini etudes was also published and composed . The first two volumes of Aeneas de Pellerinage, choral works and many more. Some of this work was done in the 1840s or earlier, but even so, its productivity during this time remains astounding.
Avant-garde composers of the day saw Weimar as a city where modern composers could be heard, and many of them came to Liszt as followers. The so-called New German School raised the banner of modernism, which naturally irritated more academic musicians. Some members of the Weimar court were outraged by Liszt’s continued support of the composer Richard Wagner, whose political activities forced him to flee from Germany to Switzerland in 1849 with Liszt’s help. The strict citizens of Weimar also objected to the princess’s open life with Liszt, and the Grand Duchess of Weimar was pressured by her brother Nicholas I of Russia to remove Prince Sayn-Wittgenstein from all court offices. Furthermore, the Grand Duke who originally hired Liszt died in 1853 and his successor had little interest in music. Liszt resigned after five years and remained in Weimar until 1861, where his position became increasingly difficult. Their son Daniel died in 1859 when he was twenty. Liszt is deeply saddened and writes a sermon for his orchestra, Les Morts, in memory of his son. In May 1860, the princess left Weimar for Rome in the hope that the pope would approve their divorce, and in September, agitated, Liszt drew up his will. In August of the following year, he left Weimar, traveled to Berlin and Paris, met Marie Daguerre, and arrived in Rome. He and the princess hoped to get married on their fiftieth wedding anniversary. However, at the last moment, the pope revoked his consent to divorce the princess. Both of them resided in Rome in different institutions.
8 years in Rome
For the next eight years Liszt lived mainly in Rome and became increasingly involved in sacred music. He completed the oratorio de legend von der His Heiligen His Elisabeth (1857-1862) and Christus (1855-1866) and several smaller works. He hoped to create a new type of religious music, more direct and moving than the sentimental style popular at the time. However, his efforts were frowned upon by ecclesiastical authorities, and much of his religious music was not published until many years later. In 1862, his daughter Blandine died aged 26. Liszt is the cantata Complain by J.S. Bach Weinen that ends with a chorus. The princess’s husband died in 1864, but there was no talk of further marriage, and in 1865 Liszt took the charge of four minor priests in the Roman Catholic Church, although he did not become a priest. In 1867 he wrote the Hungarian Coronation Mass for the coronation of Emperor Franz Joseph I of Austria as King of Hungary. This commission renewed his ties with his motherland. Meanwhile, his daughter Cosima, who at age 19 married Liszt’s favorite student Hans von Bülow, was having an affair with Richard Wagner. She had an illegitimate child with Wagner, and the feud between the two composers continued until 1872.
