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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 ...
The most popular of the series and, along with the third Waltz, most praised musically, the Der Tanz in der Dorfschenke: Erster Mephisto-Walzer ("The Dance in the Village Inn: First Mephisto-Waltz"), or the First Mephisto Waltz, is the second of two short works he wrote for orchestra under the title Zwei Episoden aus Lenaus Faust.
Franz Liszt (1811–1886): set of Transcendental Études, with its two previous versions being Étude en douze exercises and Douze Grandes Études; six études, also with an earlier set, on themes by Niccolò Paganini (among them the famous La Campanella); and six concert études (one set of three, another set of two and Ab Irato which also has ...
As with the other works in the Études but one, Feux follets went through three versions, the first being Étude en douze exercices from 1826, the second being Douze grandes études from 1837, and third Douze études d'exécution trancendante, an 1851 revision of the 1837 set. It is this last version, from 1851, that is most often performed.
All of Reger's transcriptions of songs by Brahms, Wolf, Richard Strauss and others as well as his arrangements of Bach's organ works were excluded. Liszt's posthumous fate was of similar kind. In 1911, when Bartók wrote his essay, a complete edition of the "Franz Liszt Stiftung" was in print.
The Almira transcription is noted by critics as one of the most striking of Liszt's late concert arrangements as well as his only setting of a baroque piece from his late period. Liszt's decision to set Handel was probably due at least in part to please British audiences, for whom Handel was still the preeminent national composer and before ...
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.
Vladimir Horowitz, in a 1988 interview, stated "I deeply regret never having played Liszt's arrangements of the Beethoven symphonies in public – these are the greatest works for the piano – tremendous works – every note of the symphonies is in the Liszt works." [4] Liszt's Beethoven Symphony transcriptions are little known outside serious ...