Franz Liszt, Was Born in Hungary in 1811

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Franz Liszt, Was Born in Hungary in 1811

“Music is the heart of life. Franz Without it, there is no possible good and with it Liszt everything is beautiful.” The piano virtuoso and composer, Franz Liszt, was born in Hungary in 1811. His father was a teaching musician who played many instruments and taught Liszt to play from a young age. By the time Liszt was 9 years old, he had already appeared in concerts, where his talent was spotted by wealthy sponsors who offered to finance his musical education in Vienna. As a young composer, Liszt wrote DID YOU KNOW? complex music that was extremely challenging to play. As a result he later Liszt wrote his first and only simplified his musical compositions to opera, Don Sanche, at the make it easier for other musicians to age of 12. play his music. Throughout his musical career, Liszt FUN FACT gave away much of his proceeds to charity and humanitarian causes. By Liszt’s performances resulted 1857 he had become so successful that in intense fan frenzy known as he decided that most of his performing Lisztomania. Admirers would fight over his handkerchiefs and gloves fees, from that point onwards, would and some would even make go to charity. bracelets out of his broken piano strings! In his lifetime, Liszt contributed immensely towards piano techniques, orchestration and transcriptions and was said to be the greatest MUSICAL TERM pianist of all time. Some of his most Symphonic Poem: a piece of notable works include the invention orchestral music that illustrates or of symphonic poems, piano concerti, suggests the subject of a poem, and a great variety of solo piano story, or any other form of non- pieces. musical work..

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History of Music
HISTORY OF MUSIC THE ROMANTIC ERA Created by J. Rogers (2015) 2 GOWER COLLEGE SWANSEA MUSIC Table of Contents Romantic Era Introduction (1830 – 1910) ............................................. 4 Programme Music ........................................................................................ 5 Concert Overture .............................................................................................. 5 Programme Symphony ....................................................................................... 6 Symphonic Poem ................................................................................................. 9 Romantic Piano Music ............................................................................... 11 Lieder and Song-cycles .............................................................................. 12 Opera and Music Dramas ......................................................................... 15 Italian Opera ..................................................................................................... 15 Music Dramas ................................................................................................... 16 Leitmotifs in The Ring ..................................................................................... 17 GOWER COLLEGE SWANSEA 3 MUSIC History of Music The History of Music can be broadly divided into separate periods of time, each with its own characteristics or musical styles. Musical style does not, of course, change overnight. It can often be a gradual process
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Hungarian Studies
HStud 26 (2012)1, 123–140 DOI: 10.1556/HStud.26.2012.1.10 THE LITERARY CANON OF FERENC LISZT MIHÁLY SZEGEDY-MASZÁK Eötvös Loránd University Budapest, Hungary Perhaps best known as a peerless virtuoso in his day and a composer the significance of whose contributions to the Western tradition was only appreciated in the latter half of the 20th century, Ferenc Liszt was also among the most ambitious composers of the 19th century in his exposure to works of literature and his interest in the inter- actions of literature and music. The following article examines the interrelation- ships between his music and the works of literature he chose as inspirations and in some cases as texts to be put to music. Keywords: Liszt, synesthesia, interarts, Weltliteratur, tonal innovation, canon “die Musik kann nie und in keiner Verbindung, die sie eingeht, aufhören die höchste, die erlösende Kunst zu sein” (Wagner 1888, 191) At the outset I would like to make two reservations. I am a lover of music, but not a musician. A literary scholar is not qualified to comment on music, so I will restrict my observations to the texts used by the composer. My other preliminary remark is more personal. In full agreement with Alan Walker’s statement that “the case concerning Wagner’s ‘ingratitude’ may have been overstated by the Lisztians” (Walker, 1997, 353), I do not wish to make any comparison between Liszt and Wagner. The harmonic experimentation of Liszt is well-known, although some experts caution against exaggerations. The author of a recent study on the late pi- ano works, for instance, makes the following statement about the 4.
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My Activity Book
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Lemmel-Piano-4-Lectu
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