FRANZ LISZT
Composer, Musician, Teacher
By Julie Cutchen
By: Julie Cutchen
LISZT WAS BORN
IN
RAIDING, HUNGARY
ON
OCTOBER 22ND, 1811.
By his 6 th bir thday he
was considered a
prodig y.
Shor tly after he was
perfor ming publicly.
Liszt was a
Masterful
Virtuoso Pianist,
who was
influenced by
the violinist
Paganini.
Known for his
good looks and
charm, in his day
he was equililent to
a modern day
“rock star.”
Although never mar ried,
Liszt
and
Marie d'Agoult
Had three children
together.
Blandine
Cosima
Daniel
Marie d'Agoult
Their relationship came
to an end in 1844.
WEIMAR
Entering a new period of his
life he became the Director of
Music Extraordinary at
Weimar. During this time at
Weimar, he rewrote many of
his earlier works and also
produced some of his greatest
works; establishing himself as
a Romantic 19th century
composer.
1848- 1862
Carolyne zu SaynWittgenstein
Liszt’s time a Weimar was not spend
alone. While touring in Russia he met
Carolyne zu Sayn-Wittgenstein, still
married but separated, she joined him
in Weimar in 1848. She ever by his
side. They planned to marry on
Liszt’s 50th birthday. However, once
they arrived in Rome; after
arrangements had been made, the
petition from the Vatican was denied
at the last moment. Carolyne was not
granted a divorce from her first
husband. While she was ever devoted
to Liszt, marriage was not feasible.
Shortly and she took “minor orders”
from the church.
This period of Liszt life
was filled with tragedy.
After the failed married
attempt and retirement, 2
of Liszt children died. He
wanted a more solitary life
and “took minor orders”
from the church.
The religious life may not
have been satisfying to
Liszt. He was offered and
accepted a position to
return to Weimar. He
divided his time between
Rome, Weimar and
Budapest. Calling this his
“three-fold” life.
His last years were years of sadness,
He is quoted as saying “I carry a
deep sadness of the heart which
must now and then break out in
sound.” His music drifted further
from typical musical styles at the
time. He experimented with parallel
5ths and augmented triads new
musical dimensions that were stark in
contrast to common acceptance.
Li s zt di ed i n Bayr euth,
G er m a ny, o n Ju l y 31 , 1 886 o f
p n eu m on ia .
Liszt a few months
before his death.
POPULAR SONGS
Petrarcan Sonnets
Hungarian Rhaosody # 2
the Concert Studies
Mephisto Waltz #1
Transcendental Etudes
Petrarcan Sonnets
Rákoczy March
Liszt with some
of his students.
Liebestraum no. 3
Liebestraum, meaning Dreams of love in English is a three
part series that refers to the entire work. They were first
published in 1850 while Liszt was residing in Weimar. Out of
the three parts, the third is the most popular and widely
known. The work is based on poems of love that was
published by Ludwig Uhland and Ferdinand Freiligrath
making this an excellent example of program music.
Liebestraum No. 3 represents a mature love. It is a difficult
piece of music that challenges the pianist; requiring both
“dexterity,” and a great amount of finger movement.
Because of the difficulty most classical pianist at some point
study this work. This work is one of the most popular pieces
of the Romantic piano literature period.
Listening Guide Liebestraum no. 3
A Flat Major
0:00 The introduction is flowing and very relaxing the development of the melody is set up
through 1:10. The melody is carried on the left hand and the right had is doing arpeggios.
Melody is conjunct, and has a feeling of consonance. With a moderate song like feel to the
music.
0:55 a gradual diminuendo
1:12 The first cadenza in the piece. The cadenza makes an arch and reaches the highest
octaves on the register.
1:34 There is a key change from A Flat to B Major. The right hand plays the melody and the
left had plays arpeggios.
1:58 The piece changes key to C Major. The work enters the most demanding portion of
the piece. This continues eleven measures.
2:20 The key changes back to the original key of A Flat. The tempo of the piece changes, it
becomes slightly faster and is played with more passion, appassionato assai.
2:49 The second cadenza is played. It is diminished the notes are descending down the
keyboard. A small arch occurs and the cadenza proceeded further down the register. The
tempo of the piece is leggiero, ritard.
3:09 The tempo returns to the original tempo the melody is played with the right hand and
the left hand is playing chords. The left hand is leap frogging over the right hand to play
upper register notes.
3:52 The ending is chords passionately played together that then separates into arpeggios.
Transcendental Etude no. 3 in F Major
This Etude has a light and fast movement to the piece. It was
written based on a violin concerto by Paganini. This is one of
his easier pieces. The melody is carried in playing octaves. Liszt
was influenced by Paganini and decided that he wanted to
become a virtuoso pianist like he was a virtuosos on the violin.
He produced this work around 1838 and then revised it during
his time at Weimar.
Transcendental Etude no. 3 F Major
0:00 The piece begins with a nice soft setting. Both hands are playing cords. It is played with
feeling
0:11 Melody is played with the right hand.
0:36 The right hand continues to play the melody in the higher octaves of the keyboard.
0:53 slightly heavier chords in the left hand, melody repeats itself with variation
1:10 The melody repeats itself again with the higher register of the keyboard
1:40 Melody slows, volume diminishes
1:51 Theme A repeats
2:10 transition
2:10 both hands play chords
2:34 Variation on theme A
3:00 descending chords played more loudly and more passionately
3:09 climaxes gradually descends a little
4:00 Coda descend down lower register of the keyboard for a few notes.
4:20 right hand plays a few noted on the higher register with a bell like sound
4:25 melody begins to slow. Left hand carrying the melody right hand playing notes on higher
register like a bell occasionally ringing
Transcendental Etude no. 10 in F Minor
This was one of Liszt earlier pieces, he first produces this
work when he was 15 years old and then revised the piece
several years later. This piece is extremely difficult, in require
immense hand movement. This demanding piece uses a
more unique technique. The piece is written in F minor and
carries a foreboding melody that carries you forward with
what at time seemly like an unusual harmony. This music is
fast moving and carries with it a strength and intensity.
Transcendental Etude no. 10 F Minor
0:00 Begins by the piano beings laying hand over hand chords
ranging down the keyboard.
0:14 The music becomes more loud and eventually ascends the
keyboard
0:23 The music seems to go descend down the key board the left
hand has some difficult notes
and phrases
0:41 The music slows arpeggio chords on the left hand
0:53 The music feels like it has more tension
1:07 The left hand plays the melody with chords the right hand
plays wildly
1:30 A descending arpeggio’s down the keyboard.
1:40 The music speeds up and crescendo’s
2:18 The music seems to climax
3:12 Chords are played with a strong heaviness on the left hand
3:33 The coda – music picks up
3:55 The music ends with strong chords being played.
WORKS CITED
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http://www.biography.com/people/franz-liszt-9383467
“Franz Liszt.” 2012. Britannica.com 07 Oct 2012,
http://www.britannica.com/EBchecked/topic/343394/FranzLiszt/4231/Additional-Reading
Parker, Bill. nd “Franz Liszt.” 04 Oct 2012,
http://www.geocities.com/heartland/fields/8616/composerfiles/liszt.html
Oron, Aryeh. 2006. “Bach Cantatas Website” 04 Oct 2012 http://www.bachcantatas.com/Lib/Liszt-Franz.htm
“Franz Liszt.”2012. NND tracking the world. 07 Oct 2012
http://www.nndb.com/people/928/000026850/
“Franz Liszt.” 2012. Naxos. 06Oct 2012
http://www.naxos.com/person/Franz_Liszt/22599.htm