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Liebestraum No. 3 in A-flat major is the most familiar of the three nocturnes and is in three sections, each divided by a fast cadenza requiring dexterous fingerwork and a high degree of technical ability. One melody is used throughout, and varied, notably near the middle of the nocturne, at a climax, where it is played in a series of octaves ...
2nd version of S.171a/4; arr. for org/harm by Liszt and Alexander Wilhelm Gottschalg as S.672d/2; arr. for vc pf/org/harm by Liszt and Deswert as S.382a/2 172/5 A111b/5 (Andantino) pf E major 1849–50 Piano, original 2nd version of S.171a/5; arr. for org/harm by Liszt and Gottschalg as S.672d/3 172/6 A111b/6 (Allegretto sempre cantabile) pf E ...
This last point of view is very much resembling Hanslick's opinion. It is therefore not surprising that Liszt and Hanslick were not enemies. Whenever they met they did it with nearly friendly manners. In fact, Hanslick never denied that he considered Liszt as composer of genius. He just did not like some of Liszt's works as music.
Franz Liszt [n 1] (22 October 1811 – 31 July 1886) was a Hungarian composer, virtuoso pianist, conductor and teacher of the Romantic period.With a diverse body of work spanning more than six decades, he is considered to be one of the most prolific and influential composers of his era, and his piano works continue to be widely performed and recorded.
He [Liszt] played each note of the melody as if it were a significant poetic word, which effect was heightened in that he used the thumb for each one of these notes, and dropping his hand in a languid manner as he did this.
[7] [failed verification] Liszt kept the étude in his repertoire until his final years. Un sospiro consists of a flowing background superimposed by a simple melody written in the third staff. This third staff—an additional treble staff—is written with the direction to the performer that notes with the stem up are for the right hand and ...
"O lieb, so lang du lieben kannst" is an 1829 poem by the 19th-century German writer Ferdinand Freiligrath.Hungarian composer Franz Liszt set the first four stanzas in 1843 as a lied for soprano voice and piano, S. 298, and later adapted it into the third of his Liebesträume (Dreams of Love), S. 541.
Liszt was deeply affected by the deaths of friends and loved ones throughout his life; these losses, in turn, had a profound impact on the types of works Liszt would write. Like the sacred music, Liszt's works of premonition, death and mourning came from a deep inner impulse and he usually did not seek their publication.