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Cambridge University Press 978-0-521-64462-4 - The Cambridge Companion to Liszt Edited by Kenneth Hamilton Index More information Index of Liszt’s musical works Orchestral works ‘Lyon’, 67, 224 Piano and orchestra Paraphrases, 66–70 early (unpublished) concerti, 154–5 ‘Psaume’, 67, 224 Concerto no. 1 in E major, 28, 38, 44, 154, ‘Vallee´ d’Obermann’, 68–9, 72, 76, 114 155–7, 159–60, 161, 162, 170 Ann´ees de P`elerinage, 36, 37, 42, 163 Concerto no. 2 in A minor, 28, 154, 159, Book I, 66–70, 150 160–1, 162, 170 Book II, 150 ‘Concertono.3inE major’ (published Book III, 89–90, 99, 112, 119, 120, 132, posthumously), 58, 60 135–50, 151 De profundis: Psaume Instrumentale, 71, ‘Angelus!’, 93, 114, 115, 136, 137–8, 140, 158–9, 161, 169, 224 144, 145, 147–8 Festvorspiel, 57 Apr`es une lecture de Dante, 69, 219 Grande Fantaisie Symphonique (‘L´elio ‘Au bord d’une source’, 142, 174–5 Fantasy’, after Berlioz), 157–9 ‘Aux Cypres` de la Villa d’Este’, nos. 1/2, Hungarian Fantasy, 38 111, 136, 138–41, 144, 145, 146–8, 149, Totentanz, 41, 44, 154, 158, 162–70, 264 150 Symphonic works Ave Maria, 243 Dante Symphony, 57, 210, 219–22 ‘Canzonetta del Salvator Rosa’, 69 Faust Symphony, 28, 38, 42, 44–5, 68, 75, 77, ‘Les Jeux d’eau alaVillad’Este’,` 43, 136, 80, 195, 208, 216–19, 266 140–2, 148–50, 256 Mephisto Waltz no. 1, 34 Marche fun`ebre: en m´emoire de Maximilien Symphonic Poems, ix, 42, 66, 206–7, 255 I, 141, 143–4, 145, 146, 148, 149, 150 Ce qu’on entend sur la montagne, 213 ‘Orage’, 201 Festkl¨ange, 214–15 ‘Il Penseroso’, 69, 139 Hamlet, 215, 220 Petrarch Sonnets, 69, 114, 200 H´ero¨ıdefun`ebre, 39, 213–14 ‘Sposalizio’, 69 Hunnenschlacht, 215 ‘Sunt lacrymae rerum’, 124–41, 142, 146, Die Ideale, 213, 220 148, 149, 150 Mazeppa, 43, 70, 210 ‘Sursum Corda’, 114–15, 136, 137, 141, Orpheus, 208–9, 222 144–6, 147, 148, 150 Les Pr´eludes, 28, 38, 41, 42, 213 Venezia e Napoli, 44, 208 Prometheus, 208, 209–10, 216 Concert Studies, 37 Tasso, 207–8, 216 Consolations, 186, 187 Von der Wiege bis zum Grabe, 215–16 Five Little Piano Pieces, 103, 104–6 Symphonie r´evolutionnaire, 214, 267 Harmonies po´etiques et religieuses, 61, 62, 70–2, 186, 224, 226 Organ works ‘Ben´ ediction´ de Dieu dans la Solitude’, 71, Miscellaneous 178, 182 Fantasy and Fugue on ‘Ad nos, ad salutarem ‘Funerailles’,´ 71–2, 178, 182, 184–5 undam’(afterMeyerbeer),57–8, 76 ‘Hymne’, 267 Prelude and Fugue on the name BACH, 76, ‘Invocation’, 79, 180–1 106–7 ‘Pensee´ des morts’, 71, 267 Hungarian Historical Portraits, 89–90, 110, Piano works 112, 119, 120, 126–35, 136–7, 146, 151, Cycles and collections 262 Album d’un Voyageur, 64, 66–70 1. Stephan Sz´echenyi, 128, 132, 133, 134 ‘La Chapelle de Guillaume Tell’, 67–8, 2. Joseph E¨otv¨os, 128–9, 130, 134 224 3. Michael V¨or¨osmarty, 129, 130, 133, 134 ‘Les Cloches de G[eneve]’,` 67–8, 224 4. Ladislaus Teleki, 129–30, 133, 134, 140 Fleurs M´elodiques des Alpes, 66–7 5. Franz De´ak, 130, 133, 134 [272] Impressions et Po´esies, 66–7 6. Alexander Pet¨ofi, 131, 133, 134–5, 262 © Cambridge University Press www.cambridge.org Cambridge University Press 978-0-521-64462-4 - The Cambridge Companion to Liszt Edited by Kenneth Hamilton Index More information 273 Index of Liszt’s musical works Cycles and collections (Cont.) Nationalistic 7. Michael Mosonyi (Mosonyis Cs´ard´asmacabre, 102, 109–10 Grabgeleit/Trauerkl¨ange), 127, 128, 129, Five Hungarian Folksongs, 107 131–2, 133, 134, 135 ‘Heroic March in Hungarian Style’, 36, 215 Hungarian Rhapsodies, 28, 43, 44, 45, 84 Sz´ozat und Ungarischer Hymnus, 107, 127–8 no. 2, Ungarischer Geschwindmarsch, 107 nos. 16–19, 36, 110 Sacred keyboard music Liebestr¨aume, 28 Ave Maria, 111, 184 ‘Drei notturnos’, 192 chorale settings, 111 no. 3, 184 In domum Domini ibimus, 111 no. 3 (‘O lieb, so lang du lieben kannst’), In festo transfigurationis Domini nostri Jesu 204 Christi, 111, 113, 114 Weihnachtsbaum, 89–90, 121 Prelude and Hymn of St Francis, 111 Etudes Sancta Dorothea, 111 ‘Ab Irato’, 74–75 ‘Vexilla Regis’, 111 Douze Grandes Etudes, 59–60, 64, 65–6, 72–4, Via Crucis, 89–90, 112, 119, 120–6, 151, 261 76 O Haupt voll Blut und Wunden, 123, 269 Vision (G minor), 185–6 O Traurigkeit, O Herzeleid, 124–5, 269 Etude en douze exercices dans tous les tons Stabat Mater, 122, 124, 125 majeurs et mineurs, 59–60, 65, 73, 74 Vexilla Regis, 122, 125, 269 Etudes d’apr`es Paganini, 64–5, 74 Sonatas/extended forms ‘La Campanella’, 74, 184 Ballade no. 2 in B minor, 57, 79–80, 186, 189 Etudes d’ex´ecution transcendante, 36, 42, 72, Grand Concert Solo in E minor, 75–6, 186, 73 189 Eroica, 59, 188 Mephisto Waltz no. 1, 80 ‘Harmonies du soir’, 43, 73, 183 Mephisto Waltzes nos.3and4(see also ‘Mazeppa’, 73–4, 210 Bagatelle ohne Tonart), 116 ‘Wilde Jagd’, 73 Scherzo and March, 76–7, 184, 186 Feux follets, 188 Sonata in B minor, 37–8, 40, 41, 44, 70, 75–6, ‘Gnomenreigen’, 75 77–9, 185, 187, 190, 226–7 ‘Morceau du Salon, Etude de Transcriptions and arrangements Perfectionnement’ see ‘Ab Irato’ of own Lieder, 203–5 Ricordanza, 178, 190 A la chapelle Sixtine (Mozart/Allegri), 57, Technische Studien, 103 84–5 Trois Etudes de concert, 75 Dance of the Sylphs (Berlioz, Damnation of ‘La Leggierezza’, 264 Faust), 187 ‘Un sospiro’, 75, 178, 185, 189 Danse macabre (Saint-Saens),¨ 102, 184 ‘Waldesrauchen’, 75, 189 Fantasia on Don Giovanni/The Marriage of Juvenilia Figaro (Mozart), 57, 80, 83–4 Allegro di Bravura, 58, 59 Fantasia on Der Freisch¨utz (Weber), 83 Diabelli variation, 58 Fantasia on Guitarero (Halevy),´ 83 early sonatas, 59 Fantasia on Les Huguenots (Meyerbeer), 81 Eight Variations on an original theme in A Fantasia on La Juive (Halevy),´ 81–4 major, 58 Fantasia on Maometto (Rossini), 82 Impromptu on themes of Rossini and Spontini, Fantasia on Norma (Bellini), 81–2, 83–4 59, 84 Fantasia on Il Pirata (Bellini), 81 Rondo di Bravura, 58 Fantasia on I Puritani (Bellini), 82, 84, 154 Scherzo in G minor, 59 Fantasia on Rienzi (Wagner), 84 Seven Brilliant Variations on a theme of Fantasia on Rigoletto (Verdi), 189 Rossini, 58–9 Fantasia on La Sonnambula (Bellini), 83–4 Mourning/Elegiac Fantasia on ‘I tuoi frequenti palpiti’ (Pacini, Am Grabe Richard Wagners, 113 Niobe), 81, 154 Elegie (‘Die Zelle in Nonnenwerth’), 90–8 Fantasie and Fuge in G minor (Bach), 103 La lugubre gondola,nos.1/2,90, 113 Grande Fantaisie de Bravoure sur La Clochette R. W. – Venezia, 113 (Paganini), 64 ‘Schlaflos! Frage und Antwort’, 34, 113–16 Grande Fantaisie sur la tyrolienne de l’op´era ‘Unstern! Sinistre, disastro’, 34, 90, 113, ‘La fianc´ee’ (Auber), 60–1, 65 116 Gretchen am Spinnrade (Schubert), 184 © Cambridge University Press www.cambridge.org Cambridge University Press 978-0-521-64462-4 - The Cambridge Companion to Liszt Edited by Kenneth Hamilton Index More information 274 Index of Liszt’s musical works Hexameron (Bellini), 82, 154 ‘Comment, disaient-ils’ (Hugo), 192 My Joys (Chopin), 190 ‘Der du von dem Himmel bist’ (Goethe), Overture to Les Francs-Juges (Berlioz), 62 194, 199, 201–2, 203–4 Overture to Tannh¨auser (Wagner), 185 ‘Drei Lieder aus Schillers Wilhelm Tell’, Overture to William Tell (Rossini), 82–3 200–1, 204 Reminiscences de Boccanegra (Verdi), 99 ‘Die drei Zigeuner’ (Lenau), 198, 204 Reminiscences de la Scala (after Mercadante’s ‘Du bist wie eine Blume’ (Heine), 192, 199 Il giuramento), 83, 84 ‘Enfant, si j’etais´ roi’ (Hugo), 201 Reminiscences de Lucia di Lammermoor ‘Es muss ein Wunderbares sein’ (Redwitz), (Donizetti), 81–2, 83 192, 193 Reminiscences de Lucrezia Borgia (Donizetti), ‘Es war ein Konig¨ in Thule’ (Goethe), 193–4, 83 196, 198, 201, 203 Reminiscences de Robert le Diable ‘Die Fischerstochter’ (Heine), 195 (Meyerbeer), 80, 83–4, 178, 183, 188, ‘Go not, happy day’ (Tennyson), 196 189 ‘Ich mochte¨ hingehn’ (Herwegh), 198 ‘Salve Maria’ (Verdi, I Lombardi), 175 ‘Ihr Glocken von Marling’, 198 Sarabande and Chaconne from Almira ‘Il m’aimait tant’ (Gay), 194, 203 (Handel), 103 ‘Im Rhein’ (Heine), 194, 198 Soir´eesde Vienne (Schubert), 61–2, 174 ‘Isten veled’ (Horvath), 195 Symphonie Fantastique (Berlioz), 57, 62–3, ‘Jeanne d’Arc au bucher’ˆ (Dumas), 204 187 ‘Die Liebe des toten Dichters’ (Jokai), 128 Symphonies nos. 5, 6, 7 (Beethoven), 62–3 ‘Die Lorelei’ (Heine), 139, 193, 194, 196, Tarantelle (Cui), 99 197–8, 199, 201, 203, 204, 262 Tarantelle de Bravura (Auber, La Muette de ‘Magyar Kiraly-dal’, 195 Portici), 174 MignonsLied(‘KennstdudasLand’) Waltz from Faust (Gounod), 84 (Goethe), 194, 195, 204 Two pianos ‘Ne brani menya, moy drug’ (Tolstoy), Concerto Path´etique, 76 195–6 Miscellaneous ‘O lieb, so lang du lieben kannst’ Apparitions, 61–2 (Freiligrath), 192, 204 Bagatelle ohne Tonart, 116–19 ‘Oh pourquoi donc’, 196–7 Berceuse, 79 ‘Oh! quand je dors’ (Hugo), 199 ‘En reve.ˆ Nocturne’, 106 ‘La Perla’ (Hohenlohe), 195 Fantasy and Fugue on the name BACH, ‘Schwebe, schwebe, blaues Auge’, 199 106–7 ‘Die tote Nachtigall’, 198 Grand Galop chromatique, 42 Tre Sonetti Di Petrarca, 195, 200, 203, 204 Impromptu, 106 ‘Uber¨ allen Gipfeln ist Ruh’ (Wanderers ‘Nuages gris’, 34 Nachtlied II) (Goethe), 192, 199 R´ak´oczyMarch, 236 ‘Und wir dachten der toten’ (Freiligrath), Rhapsodie espagnole, 37, 40 198 Romance Oubli´ee, 196–7 ‘Die Vatergruft’¨ (Uhland), 195, 198, 204 St Francis de Paolo Walking on the Waves, 80, ‘Vergiftet sind meine Lieder’ (Heine), 198, 174, 183 203 St Francis of Assisi: the Sermon to the Birds, ‘Wie singt die Lerche schon’¨ (Fallersleben), 80 198 Toccata, 103–4 ‘Die Zelle in Nonnenwerth’ (Lichnowsky), Trois Morceaux Suisses, 67 90–1, 97–8, 194, 203, 261 ‘Trube¨ Wolken’, 113 Masses Valse Oubli´ee, 184 Gran Mass (Missa solemnis zur Erweihung
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  • Franz Liszt: Spiritual Seeker

    Franz Liszt: Spiritual Seeker

    GOING BEHIND THE NOTES: EXPLORING THE GREAT PIANO COMPOSERS AN 8-PART LECTURE CONCERT SERIES FRANZ LISZT: SPIRITUAL SEEKER Dr. George Fee www.dersnah-fee.com Performance: Sancta Dorothea (1877) Liszt’s Life (1811-1886) Liszt’s Music Performance: Petrarch Sonnet No. 104 (1855) The Man Liszt Fact vs. Fiction Performance: Transcription of Robert Schumann’s Widmung (1848) 10 Minute Break Playing Liszt’s Music Liszt’s Later Years Liszt’s Late Piano Music Performance: Five Hungarian Folk Songs (1873) Csárdás obstiné (1884) Performance: La Lugubre Gondola no.2 (1882) Liszt’s Philosophy of Music c Performance: Les jeux d’eaux a la Villa d’Este (1877) Performance: Sursum Corda (1877) HIGHLY RECOMMENDED READING ON LISZT Walker, Alan. Franz Liszt. Alfred A. Knopf, Vol. 1, 1983; Vol. 2, 1989; Vol. 3, 1996. LISZT’S MOST SIGNIFICANT PIANO WORKS Annees de pelerinage (Years of Pilgrimage) 1st year: Switzerland 2nd year: Italy 3rd year: Italy Ballade #2 Funerailles Two Legends: #1 St.Francis of Assisi’s Sermon to the Birds; #2 St.Francis of Paola Walking on the Waves Mephisto Waltz #1 Sonata in B Minor LISZT’S BEST KNOWN NON- SOLO PIANO WORKS 13 Symphonic Poems (especially #3 ,” Les Preludes” ) A Faust Symphony Piano Concerti in E Flat Major and A Major Petrarch Sonnet 104 I find no peace, and yet I make no war: and fear, and hope: and burn, and I am ice and fly above the sky, and fall to earth, and clutch at nothing, and embrace the world. One imprisons me, who neither frees nor jails me, nor keeps me to herself nor slips the noose: and Love does not destroy me, and does not loose me, wishes me not to live, but does not remove my bar.
  • Current Review

    Current Review

    Current Review Franz Liszt: Sardanapalo - Mazeppa aud 97.764 EAN: 4022143977649 4022143977649 BBC Music Magazine (John Allison - 2019.04.01) Specialist record labels may face a challenging time, but they do at least benefit from one growth industry: the ongoing Franz Liszt discoveries and reconstructions. Yet nobody was expecting to hear anything of the composer's opera Sardanapalo, begun and abandoned in the early 1850s. For all Liszt's tireless role in championing operas by his peers, he wrote his only complete opera (Don Sanche) aged 13. Now it turns out that Act I of Sardanapalo had been sketched fully enough to allow musicologist David Trippett to produce a realisation of the score. What emerges sounds like a catalogue of styles from Bellini and Verdi to Mendelssohn and Wagner, an unsatisfying mix that lacks its own distinctive voice. Still, it's good to be able to hear it and fitting that Liszt's old Weimar orchestra (now under Kirill Karabits) has recorded it. In the title role, the plangent tenor Airam Hernandez confirms his status as a rising star; but it is Mirra, the king's lover, who carries the burden and Joyce El-Khoury is on exciting, mettlesome form. As the soothsayer Beleso, Oleksandr Pushniak projects a darkly imposing voice. Though Liszt's operatic ambitions were never fulfilled, he found his metier in the symphonic poem – with contrasting fortunes that are underlined by the inclusion here of the contemporaneous Mazeppa, also based on Byron. Quintessential Liszt, this masterpiece telling the story of a Ukrainian hero is brought to vivid life under the baton of today's leading Ukrainian conductor.
  • Rezension Für: Joyce El-Khoury Franz Liszt

    Rezension Für: Joyce El-Khoury Franz Liszt

    Rezension für: Joyce El-Khoury Franz Liszt: Sardanapalo - Mazeppa Franz Liszt CD aud 97.764 Neues Deutschland 20.02.2019 (Dr. Stefan Amzoll - 2019.02.20) Franz Liszts Opernfragment „Sardanapalo“ auf CD Das vorjährige Kunstfest in Weimar hatte „Sardanapalo“ zentral im Programm gehabt und als Neuentdeckung üppig beworben. Überall in der Stadt rankten die Plakate. Eine Oper von Franz Liszt? Der hat doch nie eine geschrieben, dürfte der Opernfreund sich gewundert haben. Liszt ist neben den Klassikern ein großer Sohn von Weimar. Doch bevor er vor 170 Jahren dort ankam, hatte er halb Europa bereist. Schon im Alter von neun Jahren bot der Junge in Salons schwierigste Klaviernummern. Ungarische Adlige sollen darüber derart erstaunt gewesen sein, dass sie ihm eine Ausbildung in Wien finanzierten. Noch keinerlei Gedanke, einmal musikalisch der Bühne sich zu verschreiben. Liszt und die Oper ist ein schwieriges Kapitel. Sein Ruhm als Klaviervirtuose wuchs unaufhaltsam und an Oper war nicht zu denken. Neben Chopin und Paganini lernte er Berlioz und Wagner kennen, beides junge Opernkomponisten. Handfest mit Oper kam das junge Klaviergenie erst in Berührung, als es 1847 nach Weimar ging und das Amt eines Hofkapellmeisters ausübte, betraut mit der Aufgabe, die zeitgenössische Musik zu fördern, also neben Konzertstücken und Symphonien auch Werke des jüngsten Opernschaffens aufzuführen. Wer anderes als die damals jungen, revolutionär gestimmten Verdi, Berlioz, Wagner, Donizetti, Bellini, Rossini, Meyerbeer kamen in Betracht. Liszt war also sehr vertraut mit dem Metier, komponierte allerdings selber statt Opern Konzerte und Soloklavierwerke. Später, seit 1851, verwirklichte er Stück um Stück seine Konzeption der symphonischen Poeme. Und irgendwann meinte er, dass er in der Oper an der Reihe sein werde: „In drei Jahren werde ich definitiv mein Klavier zuschließen.
  • K on the Oeuvre of Ferenc Liszt

    K on the Oeuvre of Ferenc Liszt

    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Repository of the Academy's Library HStud 26 (2012)1, 141–161 DOI: 10.1556/HStud.26.2012.1.11 A CONVERSATION BETWEEN ZOLTÁN KOCSIS AND MIHÁLY SZEGEDY-MASZÁK ON THE OEUVRE OF FERENC LISZT In a conversation held on the occasion of the Liszt year in Hungary, pianist, conduc- tor, and composer Zoltán Kocsis and literary and cultural historian Mihály Szegedy-Maszák speak about the work of Liszt, the wide variety of influences in his admittedly uneven oeuvre, and the broad range of influences he had on later com- posers, such as Gustav Mahler or Richard Strauss. They also converse about the im- portance of creativity and even improvisation in performances of canonized compo- sitions, and discuss the limits of the musical score as a means of conveying the in- tentions of a composer. The conversation touches on the performances of Liszt’s pu- pils, including for instance conductor Felix Weingartner and pianist Emil von Sauer, who offered a dazzling rendition of Liszt’s Ricordanza Etude at the age of 79. Sauer’s performances of Liszt’s piano concerti (conducted by Weingartner) offer clear instances of the ways in which the performer can vary the tempo of a composi- tion, even when there are no such indications of tempo changes in the score. Kocsis comments on the contributions of pianists György Cziffra and Alfred Brendel as two of the most significant interpreters of Liszt’s work. Kocsis and Szegedy-Maszák pose challenging questions regarding the notion of the completed composition and the completed work of art, as well as the authenticity of manuscript scores and the creative responsibilities of contemporary performers in the recreation and reanima- tion of a composer’s work.