Search results
Results From The WOW.Com Content Network
Harmonies poétiques et religieuses (Poetic and Religious Harmonies), S.173, is a cycle of piano pieces written by Franz Liszt at Woronińce (Voronivtsi, the Polish-Ukrainian country estate of Liszt's mistress Princess Carolyne von Sayn-Wittgenstein) in 1847, and published in 1853.
probably misattributed to Liszt, who arr. the pieces as S.504b and S.669a 50/ 1 A286b/8 Es segne uns Gott: ch kbd 1878–79 Choral, sacred arr. for pf as S.504b/3a, for ch org as S.669a/1 50/ 2 A286b/4 Meine Seel' erhebt den Herrn (Gott sei gnädig und barmherzig) ch kbd 1878–79 Choral, sacred
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.
Bagatelle sans tonalité ("Bagatelle without tonality", S.216a) is a piece for solo piano written by Franz Liszt in 1885. The manuscript bears the title "Fourth Mephisto Waltz" [1] and may have been intended to replace the piece now known as the Fourth Mephisto Waltz when it appeared Liszt would not be able to finish it; the phrase Bagatelle ohne Tonart actually appears as a subtitle on the ...
Grand galop chromatique in E-flat major, S.219 is a bravura piece by Franz Liszt, composed in 1838. This galop was one of Liszt's favorite encores which he considered a "rouser". [ 1 ] The galop chromatique was published as a piano solo and also in a version for piano duet ( S.616 ).
The pieces are all based on some of the Caprices (Nos. 6/5, 17, 1, 9, and 24) and concertos (No. 2/1) by Niccolò Paganini for violin, and are among the most technically demanding pieces in pianistics (especially the original versions, before Liszt revised them, thinning the textures and removing some of the more outrageous technical difficulties).
The piece has been described by Carl Lachmund, one of Liszt's students, as more characteristic of Liszt's style than the more renowned D ♭ major third Consolation. [35] Lachmund provides insight into the style in which Liszt played the Consolation, stating:
The Deux légendes (French: Two legends) are a pair of pieces for solo piano, (S.175 in the catalogue compiled by Humphrey Searle) by Franz Liszt, written in 1863. In 1863 Liszt made an orchestration of both legendes, S. 113 a/1 and S. 113 a/2.