Franz Liszt musical works list. Liszt, Franz: biography. Orchestral and vocal works

On July 19, 1886 it took place last concert. Liszt died on July 31 of the same year in a hotel in the arms of a valet.

Facts

Modern musicologists consider Liszt to be the founder of the master class as a form of improving the professional skills of a musician. His first master class is considered to be a class in Weimar in 1869.
Emperor Franz Joseph I knighted Liszt on October 30, 1859, leaving a handwritten note of Liszt's full name: Franz Ritter von List(Franz Ritter von Liszt, from German Ritter - knight, horseman).
Pictured on postage stamps Austria 1961, Hungary 1932 and 1986, Hungary post block 1934.
Liebestraum No. 3 in A-Flat Major, S. 541 was used as a ringtone in Nokia phones.
Franz Liszt had a very long hand that could cover almost two octaves.

Memory

The name was given to the National Hungarian Academy of Music (Budapest).
Budapest International Airport, the main airport in Hungary, is named after Franz Liszt.

Works

There are 647 Liszt works in total: 63 of them for orchestra, about 300 arrangements for piano. In everything that Liszt wrote, one can see originality, a desire for new paths, a wealth of imagination, courage and novelty of techniques, a unique view of art. His instrumental compositions represent a remarkable step forward in musical architecture. 13 symphonic poems, the symphonies “Faust” and “Divina commedia”, piano concertos represent a rich new material for the researcher musical form. Liszt’s musical and literary works include brochures about Chopin (translated into Russian by P. A. Zinoviev in 1887), about “Benvenuto Cellini” by Berlioz, Schubert, articles in “Neue Zeitschrift fr Musik” and big essay about Hungarian music (“Des Bohmiens et de leur musique en Hongrie”).

In addition, Franz Liszt is known for his Hungarian Rhapsodies (composed 1851-1886), which are among his most striking and original works of art. Liszt used folklore sources (mainly gypsy motifs), which formed the basis of the Hungarian Rhapsodies.

The genre of instrumental rhapsody is a kind of “innovation” by Liszt.

Rhapsodies were created in the following years: No. 1 - around 1851, No. 2 - 1847, No. 3-15 - around 1853, No. 16 - 1882, No. 17-19-1885.

List of essays

Piano works

Sketches of the highest performing skills (1st edition - 1826, 2nd 1836, 3rd 1851)

C major (Preludio / Prelude)
a-moll (Molto vivace)
F-dur (Paysage / Landscape)
d-moll (Mazeppa / Mazepa)
B-dur (Feux follets / Will-o'-the-wisps)
g-moll (Vision / Vision)
Es-dur (Eroica)
c-moll (Wilde Jagd / Wild Hunt)
As-dur (Ricordanza / Memories)
f minor (Allegro agitato molto)
Des-dur (Harmonies du soir / Evening harmonies)
b-moll (Chasse-neige / Blizzard)

Sketches based on Paganini's caprices S.141/ Bravorstudien nach Paganinis Capricen - (1st ed. Bravors, 1838, 2nd ed. Large studies based on Paganini’s caprices - Grandes Etudes de Paganini, 1851):
1. Tremolo g-moll;
2. Octaves Es-dur;
3. La campanella gis-moll;
4. Arpeggio E-dur;
5. La Chasse E-dur;
6. Theme et variations a-moll.
3 concert studies (circa 1848)
2 concert etudes (circa 1862)
"The Traveler's Album" (1835-1836)
"Years of Wandering"
- 1st year - Switzerland S.160(9 plays, 1835-1854) / Annees de pelerinage - Premiere annee - Suisse
  - I. La chapelle de Guillaume Tell / Chapel of William Tell
  - II. Au lac de Wallenstadt / On Lake Wallenstadt
  - III. Pastorale / Pastoral
  - IV. Au bord d'une source / At the spring
  - V. Orage / Thunderstorm
  - VI. Vallee d'Obermann / Obermann Valley
  - VII. Eclogue / Eclogue
  - VIII. Le mal du pays / Homesickness
  - IX. Les cloches de Geneve / The Bells of Geneva
- 2nd year - Italy S.161(7 plays, 1838-1849), including “Fantasy-sonata after reading Dante” (Apres une lecture du Dante, 1837-1839), ext. - “Venice and Naples”, 3 plays, 1859 / Annees de pelerinage - Deuxieme annee - Italie, S.161
  - I. Sposalizio / Betrothal
  - II. Il penseroso / The Thinker
  - III. Canzonetta del Salvator Rosa / Canzonetta by Salvator Rosa
  - IV. Sonetto 47 del Petrarca / Petrarch's Sonnet No. 47 (Des-dur)
  - V. Sonetto 104 del Petrarca / Petrarch's Sonnet No. 104 (E-dur)
  - VI. Sonetto 123 del Petrarca / Petrarch's Sonnet No. 123 (As-dur)
  - VII. Apres une lecture du Dante, fantasia quasi una sonata / After reading Dante (fantasy sonata)
- Addition “Venice and Naples” S.162
  - I. Gondoliera / Gondoliera
  - II. Canzone / Kanzona
  - III. Tarantella / Tarantella
- 3rd year S.163(7 plays, 1867-1877) / Annees de pelerinage - Troisieme annee
  - I. Angelus. Priere aux anges gardiens / Prayer to the Guardian Angel
  - II. Aux cypres de la Villa d'Este I / At the cypresses of Villa d'Este. Threnody I
  - III. Aux cypres de la Villa d'Este II / At the cypresses of Villa d'Este. Threnody II
  - IV. Les jeux d'eau a la Villa d'Este / Fountains of Villa d'Este
  - V. Sunt lacrymae rerum (en mode hongrois) / In the Hungarian style
  - VI. Marche funebre / Funeral march
  - VII. Sursum corda / Let's lift up our hearts
"Poetic and Religious Harmonies" (1845-1852)
"Consolations" (1849)
"Hungarian historical portraits" (1870-1886)
2 legends S. 175 (1863)
- I. Saint Franois d’Assise: La prdication aux oiseaux / Saint Francis of Assisi, Sermon to the Birds
- II. Saint Franois de Paule marchant sur les flots / Saint Francis of Paola walking on the waves
2 ballads (1848-1853)
Sonata (1850-1853)
“Mephisto - Waltz” (circa 1860, first orchestral version)
Hungarian Rhapsodies (1st edition - 1840-1847, 2nd - 1847-1885), S 244

In the galaxy of names of great musical figures art of the 19th century century, the name of Franz Liszt occupies a special place. His unique talent was evident in early childhood, was noticed in time and supported by caring parents, thanks to which the world became richer by one composer, pianist, critic.

Liszt’s entire fate was closely connected with music; literally every step of his life was inseparable from his creativity. He not only reproduced great musical masterpieces, but also became an innovator in adapting them for his beloved piano. Franz Liszt also created his own works, absolutely unique and recognizable from the first notes, making the soul freeze and tremble, succumbing to the mood of the author, forever imprinted in his compositions. Coming from a small Hungarian village, he conquered the whole of Europe with his talent and charisma, his performances were always sold out.

A short biography of Franz Liszt and many interesting facts Read about the composer on our page.

Brief biography of Liszt

Franz Liszt was the only son in the family of Anna Maria and Georg Adam Liszt, a sheep caretaker who served on the estate of Prince Esterhazy. The child, who was destined to become a great musician, was born on October 22, 1811. Adam's position was quite respectable at that time, because the number of sheep was the main indicator of wealth. But his range of interests was by no means limited to paddocks and pastures. Due to the fact that the prince favored all types of art, Adam became familiar with music, playing the cello in his orchestra.

Father began to introduce Ferenc to music lessons, which found a lively response in the boy’s soul. In addition to his own studies, Adam arranged for his son to learn to play the organ and church singing. He made great progress, and his father soon became puzzled by the question public speaking. He managed to organize this too: 8-year-old Ferenc began giving small concerts in the houses of noble nobles, instantly winning the hearts of listeners. It was then that the statement appeared that the world would soon receive a new Mozart.

The father decided to radically change the life of the family in order to give Ferenc a chance to get a good music education, and in 1821 he moved his wife and son to the capital of Austria. Talent and passion for his work helped Liszt to conquer not only ordinary spectators, but also established masters musical art. Karl Czerny and Antonio Salieri undertook to teach him absolutely free of charge. Ferenc's performances became bright events, after one of which he kissed the boy himself Beethoven. Such recognition gave Liszt even greater self-confidence and inspired him to conquer new heights. In 1823 he attempted to enter the conservatory in Paris. Ferenc had every chance, but his origin became an obstacle - only Frenchmen were accepted for training.

Failure did not break Liszt himself and his family - they remained in Paris, and Ferenc began to earn money through his creativity and performances. Success accompanied the aspiring musician, his fans became best representatives high society. Ferenc was honored to play for members of the French royal family, which further strengthened the fame of an amazing child gifted with incredible talent.

The unexpected death of his father crippled Ferenc, and he spent several years in a state of depressed loneliness, stopped appearing in society and almost did not perform. But in 1830 revolutionary events forced Liszt to wake up and continue his concert activities. During this period, personalities appeared in his circle whose names still symbolize the color of the culture of that time: Georges Sand, Hugo, Delacroix, Balzac. Berlioz, Chopin, and Paganini had a special influence on the development of Liszt as a composer. His interests include literature and theater. Ferenc lives an active and vibrant life, confirming that talented person talented in everything. But the largest part of his soul belongs exclusively to music, and it was to this that he invariably turned, even devoting time to other forms of art.

Traveling around Europe

Then one of the most interesting periods began in Ferenc’s life: he left France for several years and visited almost all European countries. In 1835, he began teaching at the Conservatory in Geneva, while simultaneously writing articles for journalistic publications and working on a collection of musical works “ Years of wandering " Liszt came to Paris several times, but his performances there were no longer as popular as before: the public found new idols. However, his name has already become well known enough to ensure a comfortable existence even abroad.

From Liszt's biography we learn that in 1837 the composer's travels lead him to Italy. Here he studies local motives folk music V different regions, creates literary essays about them, which were then published in Parisian publications. He holds several more successful performances, including the first solo ones in his career.

Several times during his “European” period of life, Franz Liszt came to his homeland, Hungary. There he was greeted with great honors, and his fans were proud of their talented compatriot. Liszt used part of the funds received from the concerts to create the Hungarian Conservatory in order to give the same gifted young men as he himself once had a chance to come out into the world. List managed to visit not only European powers, but also the Russian Empire.

This journey continued for ten years, and it brought wonderful results in the form of many musical and literary masterpieces. In 1848, Ferenc finally decided where he wanted to continue living, and settled in the German city of Weimar. In addition to his composing activities, Liszt began to accept students who came to Weimar from all over the world. Here the composer completed and put in order all the previously begun works.

Recent years

After a mystical failure in love, Liszt turned to religion. In the 60s, he even moved to Rome, where he was ordained as a Catholic clergyman and began conducting some services. On musical creativity this could not but be reflected: from now on Liszt created works of exclusively spiritual themes.

According to Liszt's biography, in 1875 he received an offer to become the head of the Hungarian High school music, returned to his homeland and continued teaching.

In 1886, Liszt celebrated his 75th birthday and was active in concert activities, but a common cold suddenly knocked the composer off his feet, literally: pneumonia caused complications in his heart, his legs began to swell, and soon he could not move independently. Franz Liszt died on July 31, 1886, giving his last concert less than two weeks before his death.

Interesting facts about Franz Liszt

The main motto that Franz Liszt followed throughout his life was “Either good or nothing.”
Liszt created his only opera at the age of 14, and even then the work was a success and was immediately staged. The score was lost, but was discovered in 1903. The opera is called Don Sancho.
The rise of the musician's career began in Vienna on December 1, 1822, and during his life Liszt became not just a performer and composer, but also a publicist, conductor, and teacher.
Ferenc's hands were as if made for the piano - his hand had a great stretch, he could play almost two octaves. This served as a virtuoso performance for the pianist and became a standard in the world of piano music.

Liszt was so emotional during the performance that he could break the instrument in the process - the strings and hammers could not stand it.
The maestro's manner of performance was unique: Liszt loved to play several instruments on stage, switching to them in turn during the concert. This is exactly the scene that spectators watched in St. Petersburg in the hall of the Assembly of the Nobility.
Liszt's biography says that during a visit to England, the composer was invited to play for Queen Victoria herself at her residence. When she appeared in the box, the concert was already in full swing. The appearance of the royal person caused a noise in the hall, and she also talked quite loudly with the ladies accompanying her. Then Ferenc stopped playing, and to the remark of one of the queen’s close associates, he replied that he did not want to interfere with Her Majesty’s conversation.
The virtuosity of Liszt's performance is still amazing. To the surprise of the audience, he could play the piano in such a way that it seemed like a whole orchestra was performing.

The composer's name is a Hungarian variant of the German name Franz, and at baptism it was written in Latin as Franciscus. Some sources use the German version, although “Ferenc” is the generally accepted one.
Beethoven, who kissed Liszt as a child, was Ferenc’s idol long before that meeting. When the boy was asked what he wanted to become when he grew up, he pointed to a portrait of Beethoven and answered that he wanted to be like him.
The future king of France, Louis-Philippe, while still a duke, organized a performance for Liszt at an opera house in Italy. During the concert, the musicians from the orchestra were so fascinated by the playing young talent that they missed the place where they should have entered themselves.

Creation Paganini admired Liszt so much that he created several etudes imitating a competition between a virtuoso violinist and no less a brilliant pianist. Having adapted Paganini's works for piano, Liszt called them transcendental - “going beyond”, “transcending”, due to their incredible complexity. Their performance requires true talent from the pianist, and not everyone is able to reproduce what the great composer intended.

The mystical love story of Franz Liszt

Franz Liszt's first serious love was Marie d'Agoux, socialite, which shone in the salons of that time. Georges Sand introduced the musician to her. Marie, who loved modern art and wrote romance novels, was captivated by the young talent. She accompanied the composer on his trip to Europe, leaving home and family. For several years life together Marie and Ferenc had three children - two girls and a boy. However, Marie could not withstand the lifestyle that her husband led - she, like any mother, wanted to have her own permanent home, settle down somewhere and stop moving from place to place. In 1841, she returned to her mother with her children.

For several years, Ferenc was alone, completely devoting himself to music. While giving concerts in Kyiv in 1847, he learns that a certain lady paid 100 rubles for a ticket instead of one, and wants to meet the generous stranger. She turns out to be Caroline Wittgenstein. The venerable prince's wife was a fan of Liszt's work, attended all his concerts, and her adoration soon melted the musician's heart. Caroline's husband did not want to give her a divorce, despite the fact that they had not lived together for many years. Then the lovers left for Europe and began to live in a civil marriage. For a long time they did not give up trying to get married, they even turned to the Pope himself, but, unfortunately, they always ran into an impenetrable wall. When the pontiff refused to marry them, Caroline believed that the Lord himself was opposing their relationship. From that moment on, they maintained communication only by correspondence, filled with great tenderness and gratitude to each other for the happy years. During their romance, Liszt created many beautiful works, imbued with romantic motifs, which to this day resonate in the hearts of lovers.

Creativity and works of Franz Liszt

In his work, Liszt was inspired by the great composers of the past and his famous contemporaries. From Beethoven, who was literally worshiped at that time, Liszt took the dramatic tension and heroism of his works, the brightness of emotions and colors from Berlioz, and from Paganini - virtuosic complexity and mystical demonism. Liszt's music belongs to the movement of romanticism, like most works of art of that time. In general, he was very deeply imbued with all the impressions of his life, transferring them into his own masterpieces and manner of performance. Everywhere Ferenc visited, he noticed national traits music, and subsequently used them harmoniously. French romanticism brought incredibly vivid and contrasting images to Liszt's music. Italian opera masterpieces- sensuality and passion, hysterical vocals. German school - deep and means of expression images, unusual shapes. Later Liszt also became imbued with Russian musical tradition. At the same time, the general structure of Liszt’s musical works is characterized as national-Hungarian, because it was the musical impressions of childhood that became the basis of his work. In particular, Liszt loved to watch the dancing and singing of local gypsies in his homeland.

The creative heritage of Franz Liszt is huge and varied. He created 300 transcriptions of great works for piano, distinguished by incredible accuracy in conveying all the features of the original. More than 60 masterpieces were created by Liszt for orchestral performance. Also from Liszt’s pen were entire programs for piano concertos, symphonies, and symphonic poems. Most famous masterpiece Liszt - his Hungarian Rhapsodies”, which are based on the gypsy motifs that impressed Ferenc as a child. The cycle was created from 1847 to 1885, and the genre of instrumental rhapsody is considered another of Liszt's innovations.

Filmography

The figure of Franz Liszt often attracted the attention of film directors. In 1970, the film “Ferenz Liszt – Dreams of Love” directed by Marton Keleti was released. The joint work of the USSR and Hungary appealed to lovers of classical music and admirers of the composer’s work. The film reveals the entire biography, but only a small segment of Liszt’s life when he visited Russia with his concert program. Here he meets the brilliant Russian composer M. Glinka. In addition, a separate storyline dedicated to his meeting with Princess Caroline Wittgenstein. It is to her that he dedicates the famous “Dreams of Love”.

In 1975, director Ken Russer presented a postmodern tale about the famous composer. Franz Liszt appears as a kind of public idol, a real superstar. Crowds of fans are chasing him, and his personal life is incredibly rich.

Films featuring Liszt's music

Work	Movie
Dreams of love	TV series "Feud" (2017)
	TV series "Merli" (2016)
	"Professor Norman Cornette" (2009)
	"Cats" (2001)
Hungarian Rhapsody No. 2	"Florence Foster Jenkins" (2016)
	Cartoon "Tom and Jerry"
	Cartoon "Bugs Bunny"
	"Shine" (1996)
	"Republic" (2010)
	"Majestic" (2001)
Faus Symphony	"Nodame Cantabile" (2010)
	"Mayerling" (2010)
	"Block" (2009)
	"Metamorphosis: Behind the Screen is a Door" (1997)
Piano Concerto No. 1	"Indignation" (2016)
Consolation No. 3	"One Day" (2010)
Consolation No. 3	"Time and the City" (2008)

Undoubtedly, without Franz Liszt it is impossible to imagine the cultural life of Europe in the 19th century. But even in modern reality, his works remain interesting and relevant, finding a lively response in the hearts of people. And this means that it was not in vain that the gifted boy was drawn to the piano, it was not in vain that his father once stepped into the unknown, hoping for the only chance to bring his son into the public eye. Liszt’s personal passions were not in vain, leaving their imprint of romance and sensuality in his works. Franz Liszt lived his life solely for music - he listened to it, he created it, he studied and wrote about it, and masterfully taught it all to others.

Video: watch a film about Franz Liszt

Franz Liszt - Hungarian composer, virtuoso pianist, teacher, conductor, publicist, one of the leading representatives musical romanticism. Founder of the Weimar School of music.
Liszt was one of the greatest pianists of the 19th century. His era was the heyday of concert pianism, Liszt was at the forefront of this process, with limitless technical capabilities. Until now, his virtuosity remains a reference point for modern pianists, and the works are the pinnacles of piano virtuosity.
Active concert activity as a whole ended in 1848 (the last concert was given in Elisavetgrad), after which Liszt performed rarely.

As a composer, Liszt made a lot of discoveries in the field of harmony, melody, form and texture. Created new ones instrumental genres(rhapsody, symphonic poem). He formed the structure of a one-part cyclic form, which was outlined by Schumann and Chopin, but was not developed so boldly.

Liszt actively promoted the idea of a synthesis of arts (Wagner was his like-minded person in this). He said that the time of “pure arts” was over. If Wagner saw this synthesis in the connection between music and words, then for Liszt it was more connected with painting and architecture, although literature also played a big role. Hence such an abundance of program works: “The Betrothal” (based on a painting by Raphael), “The Thinker” (Michelangelo’s sculpture on the tombstone of Lorenzo Medici) and many others. Subsequently, the ideas of the synthesis of arts found wide application. Liszt believed in the power of art, which can influence the masses of people and fight evil. His educational activities are connected with this.
Leaf led pedagogical activity. Pianists from all over Europe came to see him in Weimar. In his house, where there was a hall, he gave them open lessons, and never took money for it. Among others, Borodin, Siloti and d'Albert visited him.
Liszt began his conducting career in Weimar. There he staged operas (including Wagner's) and performed symphonies.
Among literary works- a book about Chopin, a book about the music of Hungarian gypsies, as well as many articles devoted to current and global issues.

"Rakoczi March" from Hungarian Rhapsody No. 15.

The genre of instrumental rhapsody itself is Liszt's invention.
True, he was not the first to introduce this designation into piano music; Since 1815, the Czech composer V. J. Tomashek wrote rhapsodies. But Liszt gave them a different interpretation: by rhapsody he means a virtuoso work in the spirit of paraphrase, where folk song and dance motifs are used instead of operatic melodies. The form of Liszt's rhapsodies is also noted for its originality, based on the contrasting comparison of two sections - slow and fast: the first is more improvisational, the second is variational *.

"Spanish Rhapsody," performed by Alexander Lubyantsev.

*It is curious that Liszt retains a similar ratio of parts in the “Spanish Rhapsody”: the slow movement is built on a variation of the theme of the folia, close to the sarabande; The fast movement is also based on the variation principle, but in the continuation of the themes, features of a freely interpreted sonata form are revealed.

"Venice and Naples" 1/2h, performed by Boris Berezovsky.

This comparison reflects folk instrumental practice. The music of the slow movements is proud, chivalrous, romantically upbeat, sometimes in the nature of a slow, warlike dance-procession, reminiscent of the ancient Hungarian dance of palotash (similar to the polonaise, but two-beat), sometimes in the spirit of improvisational recitative or epic narrative, with an abundance of decorations - like "halgato note". The fast parts paint pictures of folk fun, fire dances - czardashi. Liszt often used characteristic figurations that conveyed the sound of cymbals and the richness of violin melismatics, emphasizing the originality of the rhythmic and modal turns of the verbuncos style.

"Venice and Naples"2/2h.

"Canzona"

Characteristic

Liszt became the greatest pianist of the 19th century. His era was the heyday of concert pianism, Liszt was at the forefront of this process, with limitless technical capabilities. To this day, his virtuosity remains a reference point for modern pianists, and his works remain the pinnacle of piano virtuosity. Active concert activity as a whole ended in 1848 (the last concert was given in Elizavetgrad), after which Liszt performed rarely. As a composer, Liszt made a lot of discoveries in the field of harmony, melody, form and texture. He created new instrumental genres (rhapsody, symphonic poem). He formed the structure of a one-part cyclic form, which was outlined by Schumann and Chopin, but was not developed so boldly. Liszt actively promoted the idea of a synthesis of arts (Wagner was his like-minded person in this). He said that the time of “pure arts” was over (this thesis was put forward by the 1850s). If Wagner saw this synthesis in the connection between music and words, then for Liszt it was more connected with painting and architecture, although literature also played a big role. Hence the abundance of program works: “The Betrothal” (based on a painting by Raphael), “The Thinker” (a sculpture by Michelangelo) and many others. Subsequently, the ideas of the synthesis of arts found wide application, right up to the present day.

Liszt believed in the power of art, which can influence huge masses of people and fight evil. His educational activities are connected with this.

Conducted teaching activities. Pianists from all over Europe came to see him in Weimar. In his house, where there was a hall, he gave them open lessons, and never took money for it. Among others, Borodin and Ziloti visited him. Liszt began his conducting career in Weimar. There he staged operas (including Wagner's) and performed symphonies. Literary works include a book about Chopin, a book about the music of the Hungarian gypsies, as well as many articles devoted to current and global issues.

Biography

Franz Liszt was born on October 22, 1811 in Hungary, in the town of Doborjan (Austrian name Riding), county of Sopron.

Parents

Franz Liszt's father, Adam Liszt (1776-1826), served as Prince Esterhazy's "overseer of sheep." This was an honorable and responsible position, since the flocks of sheep were the main wealth of the Esterhazy family. The princes encouraged art. Until the age of 14, Adam played cello in the prince's orchestra, led by Joseph Haydn. After graduating from the Catholic gymnasium in Pressburg (now Bratislava), Adam List entered the Franciscan order as a novice, but two years later he decided to leave it. He maintained a lifelong friendship with one of the Franciscans, which, as some researchers suggest, inspired him to name his son Franz, and Liszt himself, also maintaining connections with the Franciscans, joined the order in his later years. Adam Liszt composed dedicating his works to Esterhazy. In 1805 he achieved his appointment to Eisenstadt, where the residence of the princes was located. There, from 1805 to 1809, in his free time from his main job, he continued to play in the orchestra, having the opportunity to work with many musicians who came there, including Cherubini and Beethoven. In 1809 Adam was sent to the Riding. In his house there hung a portrait of Beethoven, who was his father’s idol and later became his son’s idol.

Franz Liszt's mother, née Anna Lager (1788–1866), was born in Krems (Austria). Orphaned at the age of 9, she was forced to move to Vienna, where she worked as a maid, and at the age of 20 she moved to Mattersburg to live with her brother. In 1810, Adam List, having arrived in Mattersburg to visit his father, met her, and in January 1811 they got married.

In October 1811, a son was born, who became their only child. The name given at baptism was written in Latin as Franciscus, and in German it was pronounced Franz. The Hungarian name Ferenc is more often used, although Liszt himself, having a poor command of Hungarian, never used it.

The father's participation in his son's musical formation was exceptional. Adam Liszt began teaching his son music early, giving him lessons himself. In the church the boy was taught to sing, and the local organist taught him how to play the organ. After three years of study, Ferenc performed in a public concert for the first time at the age of eight. His father took him to the houses of noble nobles, where the boy played the piano, and managed to evoke a favorable attitude among them. Realizing that his son needs a serious school, his father takes him to Vienna.

Since 1821, Liszt studied piano in Vienna with Karl Czerny, who agreed to teach the boy free of charge. The great teacher did not like the boy at first, as he was physically weak. Czerny's school gave Liszt the universality of his piano art. Liszt studied theory with Antonio Salieri. Speaking at concerts, Liszt created a sensation among the Viennese public. During one of them, Beethoven, after Franz’s brilliant improvisation in the cadenza of one of his concerts, kissed him. Liszt remembered this all his life.

After Vienna, Liszt goes to Paris (in 1823). The goal was the Paris Conservatory, but Liszt was not accepted there, since only Frenchmen were accepted. However, the father decided to stay in Paris, despite the difficult financial situation. Because of this, we had to constantly organize performances. This is how it starts at an early age professional activity Liszt. Teachers from the same Paris Conservatory studied with Liszt (among them were such outstanding musicians as Ferdinando Paer and Antonin Reich), but no one else taught him to play the piano. Czerny was his last piano teacher.

During this period, Liszt began to compose - mainly the repertoire for his performances - etudes. At the age of 14 he began the opera “Don Sancho, or the Castle of Love,” which was even staged at the Grand-Opera (in 1825).

Adam List died in 1827. Ferenc took this event seriously and was depressed for about 3 years. In addition, he was irritated by his role as a “clown,” a curiosity in secular salons. Because of these reasons, Liszt was excluded from the life of Paris for several years; his obituary was even published. The mystical mood, previously noticed in Liszt, increases.

Liszt appeared in the world only in 1830. This is the year of the July Revolution. Liszt was fascinated by the turbulent life around him and calls for justice. The idea of a “Revolutionary Symphony” arose, in which revolutionary songs were to be used. Liszt returned to active work and gives concerts with success. A circle of musicians close to him is outlined: Berlioz (who created the Symphony Fantastique at that time), Paganini (who came to Paris in 1831). The performance of the brilliant violinist prompted Liszt to achieve even greater perfection in his performance. For some time he gave up giving concerts, worked hard on his technique and transcribed Paganini's caprices for piano, published under the title of six etudes. This was the first and extremely brilliant experiment in piano arrangement, which Liszt subsequently brought to such a high degree. Liszt, as a virtuoso, was also greatly influenced by Chopin (who was skeptical of Liszt, not having seen the flowering of his work after 1848 and seeing him only as a virtuoso). Among Liszt's acquaintances are also the writers Dumas, Hugo, Musset, and Georges Sand.

Around 1835, List's articles about social status artists in France, about Schumann, etc. At the same time, Liszt began his teaching career, which he never abandoned.

In the early 30s. Liszt meets Countess Marie d'Agoux, a friend of Georges Sand. She was addicted contemporary art. The Countess had some literary abilities and published under the pseudonym Henri Style. The work of George Sand was a standard for her. Countess d'Agoux and Liszt were in a state of romantic love. In 1835, the Countess left her husband and broke all ties with her circle. Together with Liszt, she leaves for Switzerland - this is how the next period of Liszt’s life begins.

"Years of Wandering"

From 1835 to 1848, the next period of Liszt’s life lasted, for which the name “Years of Wandering” (after the name of the collection of plays) was assigned.

In Switzerland, Liszt and Marie d'Agoux lived in Geneva and from time to time in some picturesque village. Liszt makes the first drafts of plays for the collection “The Traveler’s Album,” which later became “The Years of Wanderings” (French: “Années de pèlerinage”), teaches at the Geneva Conservatory, and sometimes travels to Paris for concerts. However, Paris is already captivated by another virtuoso, Thalberg, and Liszt does not have his former popularity. At this time, Liszt was already beginning to give his concerts an educational theme - he played symphonies (in his arrangement for piano) and Beethoven concertos, paraphrases on themes from operas, etc. Together with d’Agu, Liszt wrote the article “On the role of art and the position of the artist in modern society"(see above). In Geneva, Liszt did not drop out of active European life. Friends from Paris came to see him, including Georges Sand.

In 1837, already having one child, Liszt and d'Agoux went to Italy. Here they visit Rome, Naples, Venice, Florence - centers of art and culture. From Italy, Liszt wrote essays about local musical life, which he sent to Paris for publication. The writing genre was chosen for them. The addressee of most of the letters was George Sand, who also responded to Liszt with essays in the magazine.

In Italy, Liszt played a solo concert for the first time in history, without the participation of other musicians. It was a bold and daring decision that completely separated concert performances from salon performances.

Fantasies and paraphrases on themes from operas (including Donizetti’s “Lucia”), adaptations of Pastoral Symphony Beethoven and many of Berlioz's works. After giving several concerts in Paris and Vienna, Liszt returned to Italy (1839), where he completed transcriptions of Beethoven's symphonies on piano.

Liszt had long dreamed of going to Hungary, but his friend Marie d'Agoux was against this trip. At the same time, a large flood occurred in Hungary, and Liszt, already possessing enormous popularity and fame, considered it his duty to help his compatriots. Thus, there was a break with d’Agu, and he left for Hungary alone.

Austria and Hungary greeted Liszt triumphantly. In Vienna, after one of the concerts, Thalberg, his longtime competitor, approached him, recognizing Liszt’s superiority. In Hungary, Liszt became the spokesman for the patriotic uplift of the nation. Nobles came to his concerts national costumes, presented him with gifts. Liszt donated the proceeds from the concerts to the benefit of flood victims.

Between 1842 and 1848 Liszt traveled all over Europe several times, including Russia, Spain, Portugal, and was in Turkey. This was the peak of his concert activity. Liszt was in Russia in 1842 and 1848. In St. Petersburg, Liszt was listened to by outstanding figures of Russian music - Stasov, Serov, Glinka. At the same time, Stasov and Serov recalled their shock at his performance, but Glinka did not like Liszt, he ranked Field higher.

Liszt was interested in Russian music. He highly appreciated the music of “Ruslan and Lyudmila”, made a piano transcription of “Chernomor’s March”, and corresponded with composers “ Mighty bunch" In subsequent years, ties with Russia were not interrupted; in particular, Liszt published a collection of selected excerpts from Russian operas.

At the same time, Liszt's educational activities reached their peak. In their concert programs it includes many piano works by classics (Beethoven, Bach), his own transcriptions of the symphonies of Beethoven and Berlioz, songs by Schubert, and organ works by Bach. On Liszt’s initiative, celebrations were organized in honor of Beethoven in Bonn in 1845, and he also contributed the missing amount for the installation of a monument to the brilliant composer there.

However, after some time, Liszt became disillusioned with his educational activities. He realized that it did not achieve its goal, and the average person would rather listen to a medley from a fashionable opera than a Beethoven sonata. Liszt's active concert activities ceased.

At this time, Liszt met Caroline Wittgenstein, the wife of a Russian general. In 1847, they decided to unite, but Caroline was married, and, moreover, devoutly professed Catholicism. Therefore, it was necessary to seek a divorce and a new wedding, which the Russian Emperor and the Pope had to allow.

In 1848, Liszt and Caroline settled in Weimar. This choice was due to the fact that Liszt was given the rights to lead musical life city, moreover, Weimar was the residence of the duchess, the sister of Emperor Nicholas I. Apparently, Liszt hoped through her to influence the emperor in the matter of divorce. Liszt set to work opera house, updated the repertoire. Obviously, after disappointment in concert activities, he decided to shift the educational emphasis to the activities of the director. Therefore, the repertoire includes operas by Gluck, Mozart, Beethoven, as well as contemporaries - Schumann (Genoveva), Wagner (Lohengrin) and others. The symphony programs included performances of works by Bach, Beethoven, Mendelssohn, Berlioz, as well as their own. However, in this area too, Liszt met with failure. The public was dissatisfied with the theater's repertoire, the troupe and musicians complained.

The main result of the Weimar period was Liszt’s intense work as a composer. He puts his sketches in order, finishes and revises many of his compositions. “The Traveler’s Album” after a lot of work became “Years of Wanderings”. Piano concertos, rhapsodies (in which melodies recorded in Hungary were used), Sonata in B minor, etudes, romances, and the first symphonic poems also appeared here.
Young musicians from all over the world come to Liszt in Weimar to take lessons from him.

Together with Caroline List he writes articles and essays. Begins a book about Chopin. Liszt's rapprochement with Wagner on the basis of general ideas. In the early 50s. The Union of German Musicians, the so-called “Weimarians”, is created, as opposed to the “Leipzigians” (to which Schumann, Mendelssohn, Brahms belonged, who professed more academic views than Wagner and Liszt). Fierce conflicts often arose between these groups in the press.

At the end of the 50s, the hope of a wedding with Caroline finally melted away, in addition, Liszt was disappointed by the lack of understanding of his musical activity in Weimar. At the same time, Liszt's son dies. Again, as after the death of his father, mystical and religious feelings intensify in Liszt. Together with Carolina, they decide to go to Rome to atone for their sins.

Later years

In the early 60s, Liszt and Caroline moved to Rome, but lived in different houses. She insisted that Liszt become a monk, and in 1865 he took minor monastic vows and the title of abbot. Liszt's creative interests now lie primarily in the field of church music: these are the oratorios “St. Elizabeth”, “Christ”, four psalms, a requiem and the Hungarian Coronation Mass (German: Kronungsmesse). In addition, the third volume of “Years of Wanderings” appears, rich in philosophical motives. Liszt played in Rome, but extremely rarely.

In 1866 Liszt travels to Weimar, the so-called second Weimar period. He lived in the modest house of his former gardener. As before, young musicians come to him - among them Grieg, Borodin, Ziloti.

In 1875, Liszt's activities concentrated mainly in Hungary (in Pest), where he was elected president of the newly founded Higher School of Music. Liszt teaches, writes “Forgotten Waltzes” and new rhapsodies for piano, the cycle “Hungarian Historical Portraits” (about the figures of the Hungarian liberation movement).

Liszt's daughter Cosima at this time became Wagner's wife (their son was the famous conductor Siegfried Wagner). After Wagner's death she continued to organize Wagner festivals in Bayreuth. At one of the festivals in 1886, Liszt caught a cold, and soon the cold turned into pneumonia. His health began to deteriorate and his heart was bothering him. Due to swelling in his legs, he could only move with assistance.

Interesting facts

* In 1842, Franz Liszt was expelled from St. Petersburg within 24 hours. In addition, the police chief informed him of the highest will: Liszt should never come to the capital of Russia ever again.

The Emperor listened to the end of the concert in silence. However, immediately after Liszt’s speech, the police chief was waiting for him.

* Liszt performed his new work at the Bayreuth musical society. It was an extremely complex composition, written at a fast pace. Liszt played it with his usual virtuosity and finished the game to rapturous applause. The flattered Liszt bowed politely to the audience and said proudly:

“Only two pianists in Europe can perform this piece like this—me and Hans von Bülow!”
Then the young Georges Bizet, who was present at that evening, went up to the piano, sat down and, with no less virtuosity, performed the piece he had just heard, without notes, from memory.
- Bravo! - exclaimed the embarrassed Liszt. “But, my young friend, you shouldn’t strain your memory so much, here are the notes for you.”

Bizet played the maestro’s work beautifully for the second time, now from the notes.

“Congratulations,” Liszt extended his hand to him. — Now you are third in Europe!

Works

There are 647 of Liszt's works: 63 of them for orchestra, about 300 arrangements for piano. In everything that Liszt wrote, one can see originality, a desire for new paths, a wealth of imagination, courage and novelty of techniques, a unique view of art. His instrumental compositions represent a remarkable step forward in musical architecture. 14 symphonic poems, the Faust and Divina comedia symphonies, and piano concertos provide a wealth of new material for the researcher of musical form. Liszt's musical and literary works include brochures about Chopin (translated into Russian by P. A. Zinoviev, in 1887), about Berlioz's "Benvenuto Cellini", Schubert, articles in the "Neue Zeitschrift für Musik" and a large essay on Hungarian music (“Des Bohémiens et de leur musique en Hongrie”).

In addition, Franz Liszt is known for his Hungarian Rhapsodies (composed from 1851 to 1886), which are among his most striking and original artistic works. Liszt used folklore sources (mainly gypsy motifs), which formed the basis of the Hungarian Rhapsodies. It should be noted that the genre of instrumental rhapsody is Liszt’s invention. Rhapsodies were created in the following years: No. 1 - around 1851, No. 2 - 1847, No. 3-15 - around 1853, No. 16 - 1882, No. 17-19 - 1885.

The father of the future composer, Georg Adam Liszt, served as an official in the administration of Prince Esterhazy. There was a portrait hanging in his house Ludwig van Beethoven, who later became his son's idol. The name given to the boy at baptism was written in Latin as Franciscus, and in German it was pronounced Franz. In Russian-language sources, the Hungarian name Ferenc is more often used, although he himself Sheet, having a poor command of Hungarian, never used it.

The father's participation in his son's musical formation was exceptional. Adam Liszt began teaching his son music early, giving him lessons himself. In the church the boy was taught to sing, and the local organist taught him how to play the organ. At the age of eight, Ferenc made his first public appearance, and soon his father took him to Vienna to study. Since 1821, Liszt studied piano with the great teacher Carla Cerny, who agreed to teach the boy for free. List studied theory with Antonio Salieri. Performing at concerts, the boy created a sensation among the Viennese public, amazing Beethoven himself.

In 1823, after tremendous success in Vienna, Liszt went to Paris. His goal was the Paris Conservatory, but upon arrival at the place, the young talent learned that only the French were accepted there. Despite this, father and son remained in France. In order to somehow survive, he needed money, so Liszt began to often give concerts and compose, mainly etudes. In 1827, his father died and Ferenc grieved the loss. It was published again only three years later. During this period, the composer met and made friends with Niccolo Paganini And Hector Berlioz, which later affected his music. In addition, Liszt's work was influenced by Frederic Chopin, who wrote: “I would like to steal from him the manner of performing my own sketches.”

In the early 30s, Liszt met the Countess Marie d'Agu, published under the pseudonym Daniel Stern. In 1835, she left her husband and went with Liszt to Switzerland, where the composer created a collection of plays "Traveler's Album"(later "Years of Wandering"). 12 years later, the couple moved to Italy, where Ferenc played his first solo concert, without the participation of other musicians. By this time, the composer missed his native Hungary, but since the countess was against the move, they separated.

Between 1842 and 1848, Liszt traveled throughout Europe several times, including Russia, Spain, Portugal and Turkey. At this time he fell in love with Caroline Wittgenstein, but she was married, and, in addition, professed Catholicism - she had to seek a divorce and a new wedding, which the Russian Emperor and the Pope had to allow.

In 1848, Ferenc and Caroline settled in Weimar. The choice was due to the fact that the composer was given the right to direct the musical life of the city. During this period, operas by Gluck, Mozart, Schumann and Wagner appeared in his repertoire. Young musicians from all over the world came to Liszt to take lessons from him. Together with Caroline, he wrote articles and essays, and began working on a book about Chopin.

At the end of the 50s, the hope of marrying Wittgenstein finally melted away; in addition, Liszt was disappointed by the lack of understanding of his musical activities in Weimar. At the same time, his son died, which strengthened the composer’s mystical and religious feelings. Together with Caroline, they decided to go to Rome to atone for their sins. In 1865, he took minor vows as an acolyte and became interested in sacred music. In 1886, at one of the Wagner festivals in Bayreuth, Liszt caught a serious cold. The composer's health began to deteriorate sharply. On July 31 he passed away.

During the 74 years allotted to him, Liszt created 647 works. As a composer, he made a lot of discoveries in the field of harmony, melody, form and texture, and also became the founder of such instrumental genres as rhapsody And symphonic poem. To this day, his virtuosity remains a reference point for modern pianists.

"Evening Moscow" brings to your attention a selection of the most famous works masters

1. "Hungarian Rhapsody No.2"

2. "Prometheus"

3. "Mephisto Waltz"

4. "Consolation No.3"

5. "Funérailles"

6. "Un Sospiro"

7. "Mazeppa"