Composer, Musician, Teacher

FRANZ LISZT

By: Julie Cutchen

By Julie Cutchen

LISZT WAS BORN IN

RAIDING, HUNGARYON

OCTOBER 22ND, 1811.

By his 6 th birthday he was considered

a prodigy.

Shortly after he was performing

publicly.

Liszt was a Masterful Virtuoso

Pianist, who was

influenced by the violinist

Paganini.

Known for his good looks

and charm, in his day he was equililent to a modern day “rock star.”

Marie d'Agoult

Although never married, Liszt

and Marie d'Agoult

Had three children together. BlandineCosimaDaniel

Their relationship came to an end in

1844.

Entering a new period of his life he became the

Director of Music Extraordinary at Weimar.

During this time at Weimar, he rewrote many of his earlier works and

also produced some of his greatest works;

establishing himself as a Romantic 19th century

composer.

WEIMAR 1848- 1862

Liszt’s time a Weimar was not spend alone. While touring in Russia he met Carolyne zu Sayn-Wittgenstein, still married but separated, she joined him in Weimar in 1848. She ever by his side. They planned to marry on Liszt’s 50th birthday. However, once they arrived in Rome; after arrangements had been made, the petition from the Vatican was denied at the last moment. Carolyne was not granted a divorce from her first husband. While she was ever devoted to Liszt, marriage was not feasible. Shortly and she took “minor orders” from the church.

Carolyne zu Sayn-Wittgenstein

This period of Liszt life was filled with tragedy.

After the failed married attempt and retirement, 2 of Liszt

children died. He wanted a more solitary

life and “took minor orders” from the

church.

The religious life may not have been

satisfying to Liszt. He was offered and

accepted a position to return to Weimar. He

divided his time between Rome, Weimar and Budapest. Calling this his “three-fold”

life.

His last years were years of sadness, He is quoted as

saying “I carry a deep sadness of the heart which must now and then break out in sound.” His music

drifted further from typical musical styles at the time.

He experimented with parallel 5ths and augmented

triads new musical dimensions that were stark

in contrast to common acceptance.

Liszt a few months before his death.

Liszt died in Bayreuth, Germany, on July 31, 1886 of pneumonia.

Petrarcan Sonnets Hungarian Rhaosody # 2the Concert StudiesMephisto Waltz #1Transcendental Etudes Petrarcan SonnetsRákoczy March

POPULAR SONGS

Liszt with some of his students.

Liebestraum, meaning Dreams of love in English is a three part series that refers to the entire work. They were first published in 1850 while Liszt was residing in Weimar. Out of the three parts, the third is the most popular and widely known. The work is based on poems of love that was published by Ludwig Uhland and Ferdinand Freiligrath making this an excellent example of program music. Liebestraum No. 3 represents a mature love. It is a difficult piece of music that challenges the pianist; requiring both “dexterity,” and a great amount of finger movement. Because of the difficulty most classical pianist at some point study this work. This work is one of the most popular pieces of the Romantic piano literature period.

Liebestraum no. 3

Listening Guide Liebestraum no. 3 A Flat Major 0:00 The introduction is flowing and very relaxing the development of the melody is set up through 1:10. The melody is carried on the left hand and the right had is doing arpeggios. Melody is conjunct, and has a feeling of consonance. With a moderate song like feel to the music.0:55 a gradual diminuendo 1:12 The first cadenza in the piece. The cadenza makes an arch and reaches the highest octaves on the register. 1:34 There is a key change from A Flat to B Major. The right hand plays the melody and the left had plays arpeggios. 1:58 The piece changes key to C Major. The work enters the most demanding portion of the piece. This continues eleven measures. 2:20 The key changes back to the original key of A Flat. The tempo of the piece changes, it becomes slightly faster and is played with more passion, appassionato assai. 2:49 The second cadenza is played. It is diminished the notes are descending down the keyboard. A small arch occurs and the cadenza proceeded further down the register. The tempo of the piece is leggiero, ritard. 3:09 The tempo returns to the original tempo the melody is played with the right hand and the left hand is playing chords. The left hand is leap frogging over the right hand to play upper register notes. 3:52 The ending is chords passionately played together that then separates into arpeggios.

Transcendental Etude no. 3 in F Major

This Etude has a light and fast movement to the piece. It was written based on a violin concerto by Paganini. This is one of his easier pieces. The melody is carried in playing octaves. Liszt was influenced by Paganini and decided that he wanted to become a virtuoso pianist like he was a virtuosos on the violin. He produced this work around 1838 and then revised it during his time at Weimar.

Transcendental Etude no. 3 F Major

0:00 The piece begins with a nice soft setting. Both hands are playing cords. It is played with feeling0:11 Melody is played with the right hand. 0:36 The right hand continues to play the melody in the higher octaves of the keyboard.0:53 slightly heavier chords in the left hand, melody repeats itself with variation1:10 The melody repeats itself again with the higher register of the keyboard1:40 Melody slows, volume diminishes1:51 Theme A repeats2:10 transition 2:10 both hands play chords2:34 Variation on theme A3:00 descending chords played more loudly and more passionately 3:09 climaxes gradually descends a little 4:00 Coda descend down lower register of the keyboard for a few notes. 4:20 right hand plays a few noted on the higher register with a bell like sound4:25 melody begins to slow. Left hand carrying the melody right hand playing notes on higher register like a bell occasionally ringing

This was one of Liszt earlier pieces, he first produces this work when he was 15 years old and then revised the piece several years later. This piece is extremely difficult, in require immense hand movement. This demanding piece uses a more unique technique. The piece is written in F minor and carries a foreboding melody that carries you forward with what at time seemly like an unusual harmony. This music is fast moving and carries with it a strength and intensity.

Transcendental Etude no. 10 in F Minor

Transcendental Etude no. 10 F Minor

0:00 Begins by the piano beings laying hand over hand chords ranging down the keyboard.0:14 The music becomes more loud and eventually ascends the keyboard0:23 The music seems to go descend down the key board the left hand has some difficult notes and phrases0:41 The music slows arpeggio chords on the left hand0:53 The music feels like it has more tension 1:07 The left hand plays the melody with chords the right hand plays wildly 1:30 A descending arpeggio’s down the keyboard.1:40 The music speeds up and crescendo’s 2:18 The music seems to climax3:12 Chords are played with a strong heaviness on the left hand3:33 The coda – music picks up 3:55 The music ends with strong chords being played.

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WORKS CITED