10/12/2023 0 Comments Franz liszt biography![]() ![]() Liszt's father played the piano, violin, cello and guitar. įranz Liszt was born to Anna Liszt (née Maria Anna Lager) and Adam Liszt on October 22, 1811, in the village of Doborján (German: Raiding) in Sopron County, in the Kingdom of Hungary, Austrian Empire. Some of his most notable musical contributions were the invention of the symphonic poem, developing the concept of thematic transformation as part of his experiments in musical form, and making radical departures in harmony. He left behind an extensive and diverse body of work in which he influenced his forward-looking contemporaries and anticipated many 20th-century ideas and trends. Īs a composer, Liszt was one of the most prominent representatives of the New German School ( Neudeutsche Schule). He was a friend, musical promoter and benefactor to many composers of his time, including Frédéric Chopin, Richard Wagner, Hector Berlioz, Robert Schumann, Camille Saint-Saëns, Edvard Grieg, Ole Bull, Joachim Raff, Mikhail Glinka, and Alexander Borodin. Liszt gained renown in Europe during the early nineteenth century for his prodigious virtuosic skill as a pianist. Although few in number, their character marks them out as the work of a master equally at home in both German and French musical traditions.Franz Liszt ( German pronunciation: Hungarian: Liszt Ferencz, in modern usage Liszt Ferenc, pronounced October 22, 1811 – July 31, 1886) was a prolific 19th-century Hungarian composer, virtuoso pianist, conductor, music teacher, arranger, organist, philanthropist, author, nationalist and a Franciscan tertiary. ![]() But for audiences around the world, Franck will be best remembered for his exhilarating orchestral works. His advocacy of Liszt’s cyclic forms would later influence Debussy and Ravel. He also pioneered extended compositions for the organ, which would lead to even grander works by Widor and Vierne. Parisian organists took inspiration from his phenomenal improvisation skills. His legacy to French music was complex and varied. He never fully recovered and died on 8 November following a bout of pleurisy. Just as Franck’s creative light was in the ascendant, in 1890 he was tragically struck by a horse-drawn omnibus. There were songs, large-scale sacred works, symphonic poems, piano pieces, a Symphony, a Violin Sonata and the Variations symphoniques for piano and orchestra. The works he produced in the following years fused the chromatic sensuality of Wagner’s Tristan und Isolde with the cyclical structural ideas pioneered by Liszt. As if by magic, his creative imagination went into overdrive. His big break finally came in 1871, when he was granted membership of the Société Nationale de Musique, acknowledging his leading status as a composer. His only works of this period were two short cantatas, some organ miniatures and the Schumannesque piano piece Les plaints d’une poupée (‘A Doll’s Lament’). Yet his duties as an organist, which included performing, improvising and teaching, delayed any major composing activity for another decade. In 1862 he wrote a set of Six Pièces for organ that Liszt hailed as worthy of ‘a place beside the masterpieces of Bach’. In 1858 he was appointed organist at the Basilica of Saint Clotilde in Paris where he composed a handful of sacred choral works and a Mass in three voices. Franck wrote relatively few works over the following quarter of a century. Finally, to his father’s disbelief, César rebelled and departed the family home in July 1846. The family moved to Paris, and Franck dutifully continued touring. He rubbed shoulders with the great Franz Liszt during a tour of Belgium in 1843. Franck’s performances were acclaimed wherever he played. But all his father was interested in was exploiting his son’s potential as a performer. His wide-ranging abilities were such that he won first prize in virtually every contest he entered, whatever the musical activity. So in 1830 he enrolled his gifted eight-year-old son at the Liège Conservatoire followed, seven years later, by the Paris Conservatoire. His father was keenly ambitious to see César’s name up in lights. Franck began his musical career as a keyboard prodigy. His music combines the best of the two approaches, its Gallic lyricism and harmonic colour shaped through German structural ideas into powerful dramatic forms. ![]() Franck was interested in the structural and expressive innovations of Beethoven, Liszt and Wagner. Before César Franck arrived in Paris, French Romantic music had been primarily a tradition of dazzling orchestral colour and seductive harmonies. ![]() It took a Belgian composer to convince France of the value of German musical ideas. ![]()
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