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Franz Liszt, after a painting of 1856, by Wilhelm von Kaulbach. Hungarian Romantic composer Franz Liszt (1811–1886) was especially prolific, composing more than 700 works. A virtuoso pianist himself, much of his output is dedicated to solo works for the instrument and is particularly technically demanding.
Liszt, in some of his works, supported the idea of program music. It means that there was a subject of non-musical kind, the "program", which was in a sense connected with a sounding work. Examples are Liszt's Symphonic Poems, his Symphonies after Faust and Dante, his two Legends for piano and many others.
The Mephisto Waltzes (German: Mephisto-Walzer) are four waltzes composed by Franz Liszt from 1859 to 1862, from 1880 to 1881, and in 1883 and 1885. Nos. 1 and 2 were composed for orchestra, and later arranged for piano, piano duet and two pianos, whereas nos. 3 and 4 were written for piano only.
Three Concert Études (Trois études de concert), S.144, is a set of three piano études by Franz Liszt, composed between 1845–49 and published in Paris as Trois caprices poétiques with the three individual titles as they are known today.
The Transcendental Études (French: Études d'exécution transcendante), S.139, are a set of twelve compositions for piano by Franz Liszt.They were published in 1852 as a revision of an 1837 set (which had not borne the title "d'exécution transcendante"), which in turn were – for the most part – an elaboration of a set of studies written in 1826.
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.
It reaches several climaxes that are technically demanding and ends in pianissimo arpeggios. Despite the mechanical difficulties of the work, its greatest challenge lies in doing justice to its whimsical and mysterious character. Pianissimo and leggierissimo markings abound in the double-note sections, making it more difficult to play. The ...
It is one of the most difficult Transcendental Études, being ranked 9 out of 9 by publisher G. Henle Verlag—one of six in the series to receive the highest possible difficulty ranking. [1] Ferruccio Busoni stated the étude was the "noblest example, perhaps, amongst all music of a poetising nature." He described the work as "a sublime and ...