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Selected Late Works for Piano Solo, 1870–1886 Selected Late Works for Piano Solo, 1870–1886 Edited by Nicholas Hopkins Edited by Nicholas Hopkins
PL1058 Franz Liszt Franz Liszt Selected Late Works for Piano Solo, 1870–1886 Selected Late Works for Piano Solo, 1870–1886 Edited by Nicholas Hopkins Edited by Nicholas Hopkins The final years in the life of Franz Liszt were a period of great misfortune and distress. Much of his music from this time, largely sacred choral works and music for solo piano, 1870–1886 / ed. Hopkns Solo, for Piano Works Late Liszt: Selected Franz had been received with vitriolic criticism, hostility and public disinterest. He had endured a number of personal losses, including the deaths of his son Daniel and of his eldest daughter Blandine, as well as of a number of close friends and colleagues. A growing estrangement with his daughter Cosima subjected him to a deep depression that followed him for the remainder of his life, as did an abortive marriage to Princess Carolyne zu Sayn-Wittgenstein. He had become obsessed with death and even contemplated suicide on several occasions. All of these mounting setbacks would take their toll, and the aged Liszt would be subjected to critical bouts of depression, self-doubt and lethargy. Alcohol would become a comfort and eventually an addiction. His physical health would inevitably be affected. His eyesight failed over the course of his final years, to the extent that he was unable to maintain correspondence or to compose. He additionally suffered from ague and dropsy, an accumulation of excess water that resulted in extreme swelling. Chronic dental problems brought about the loss of most of his teeth, and warts developed on his face, a result of tumorous growths that are unequivocally displayed in his late portraits. -
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. -
Dubrovački Simfonijski Orkestar Dubrovnik Symphony Orchestra
72. DUBROVAČKE LJETNE IGRE 72ND DUBROVNIK SUMMER FESTIVAL 2021. HRVATSKA CROATIA DUBROVAČKI SIMFONIJSKI ORKESTAR DUBROVNIK SYMPHONY ORCHESTRA EDUARDO STRAUSSER dirigent Conductor GORAN FILIPEC glasovir piano ISPRED KATEDRALE IN FRONT OF CATHEDRAL 18. KOLOVOZA 2021. | 18 AUGUST 2021 21:30 9.30 PM FRANZ LISZT: TOTENTANZ / PLES MRTVACA / DANCE OF DEATH, FANTAZIJA ZA KLAVIR I ORKESTAR / FANTASY FOR PIANO AND ORCHESTRA, S. 126I ROBERT SCHUMANN: SIMFONIJA U C-DURU BR. 2, OP. 61 / SYMPHONY NO. 2 IN C MAJOR, OP. 61 SOSTENUTO ASSAI. ALLEGRO MA NON TROPPO SCHERZO. ALLEGRO VIVACE ADAGIO ESPRESSIVO ALLEGRO MOLTO VIVACE FRANZ LISZT / FERRUCCIO BUSONI: RHAPSODIE ESPAGNOLE / ŠPANJOLSKA RAPSODIJA / SPANISH RHAPSODY, BV B 58 (S. 254) Franz Liszt (Rajnof, 1811. – Bayreuth, (iako je inače objavljivao detalje o djelima). 1886.), skladatelj i jedan od najvažnijih Klavirski solist na praizvedbi 1865. bio je pijanista svojega doba, učio je glazbu u Hans von Bülow. Mađarskoj od oca, u Beču od Czernyja i Efektno djelo koje, očekivano, traži veliku Salierija, a u Parizu je svirao po salonima te virtuoznost solista, postoji u inačici za učio na privatnim satovima. Na mladog klavir i dvjema inačicama za klavir i Liszta, kao i na Schumanna, snažan je orkestar (nastalima nakon brojnih Lisztovih dojam ostavio Paganini, čiju je virtuoznost preinaka). Druga, razrađenija inačica češće Liszt želio prenijeti na klavirsku glazbu. se izvodi, a DSO i Goran Filipec izvest će Živio je u Ženevi, u Parizu, u Weimaru, prvu, koju je 1919. izdao Ferruccio Busoni poslije je često odlazio u domovinu – autor obrade drugog Lisztova djela na Mađarsku, kojom se oduševljavao, a i ona ovom programu. -
Concert: Liszt Festival II - the Dualities of Liszt Mallory Bernstein
Ithaca College Digital Commons @ IC All Concert & Recital Programs Concert & Recital Programs 10-9-2011 Concert: Liszt Festival II - The Dualities of Liszt Mallory Bernstein Kawai Chan Peter Cirka Angela DiIorio Joshua Horsch See next page for additional authors Follow this and additional works at: http://digitalcommons.ithaca.edu/music_programs Part of the Music Commons Recommended Citation Bernstein, Mallory; Chan, Kawai; Cirka, Peter; DiIorio, Angela; Horsch, Joshua; Sender, Shelby; Weismann, Allison; and Welsh, Sam, "Concert: Liszt Festival II - The Dualities of Liszt" (2011). All Concert & Recital Programs. 271. http://digitalcommons.ithaca.edu/music_programs/271 This Program is brought to you for free and open access by the Concert & Recital Programs at Digital Commons @ IC. It has been accepted for inclusion in All Concert & Recital Programs by an authorized administrator of Digital Commons @ IC. Authors Mallory Bernstein, Kawai Chan, Peter Cirka, Angela DiIorio, Joshua Horsch, Shelby Sender, Allison Weismann, and Sam Welsh This program is available at Digital Commons @ IC: http://digitalcommons.ithaca.edu/music_programs/271 Liszt Festival II The Dualities of Liszt Franz Liszt: Saint or Sinner? Hockett Family Recital Hall Sunday, October 9, 2011 1:00 p.m. Alumni Recital from Years of Pilgrimage - 1st Year: Switzerland, Franz Liszt S160 (1848-54) (1811-1886) No. 6 Vallée d'Obermann Angela DiIorio BM '09, piano from Years of Pilgrimage - 1st Year: Switzerland, Franz Liszt S160 (1848-54) No. 9 Les cloches de Genève from Years of Pilgrimage - 2nd Year: Italy, S161 (1837-49) No. 1 Sposalizio Peter Cirka BM '06, piano from Poetic and Religious Harmonies, Franz Liszt S173 (1845-52) No. -
Franz Liszt (1811—1886)
Simply Charlotte Mason presents usic tudy M with tShe Masters liszt “Let the young people hear good music as often as possible, . let them study occasionally the works of a single great master until they have received some of his teaching, and know his style.” —Charlotte Mason With Music Study with the Masters you have everything you need to teach music appreciation successfully. Just a few minutes once a week and the simple guidance in this book will infuence and enrich your children more than you can imagine. In this book you will fnd • Step-by-step instructions for doing music study with the included audio recordings. • Listen and Learn ideas that will add to your understanding of the music. • A Day in the Life biography of the composer that the whole family will enjoy. • An additional longer biography for older students to read on their own. • Extra recommended books, DVDs, and CDs that you can use to learn more about the composer and his works. Simply Charlotte Maso.comn Music Study with the Masters Franz Liszt (1811—1886) by Emily Lin and Sonya Shafer Music Study with the Masters: Franz Liszt © 2019, Simply Charlotte Mason All rights reserved. However, we grant permission to make printed copies or use this work on multiple electronic devices for members of your immediate household. Quantity discounts are available for classroom and co-op use. Please contact us for details. Cover Design: John Shafer ISBN 978-1-61634-445-0 printed ISBN 978-1-61634-446-7 electronic download Published by Simply Charlotte Mason, LLC 930 New Hope Road #11-892 Lawrenceville, Georgia 30045 simplycharlottemason.com Printed by PrintLogic, Inc. -
A Teacher's Handbook
Edited by Carol Meeder, Director of Arts Education, 2004 Updated, December 2010 Cover photograph by Duane Rieder Artists: Eva Trapp and Robert Moore The 2011 Production of Dracula is sponsored by A Teacher’s Handbook for Pittsburgh Ballet Theatre’s A co-production of Pittsburgh Ballet Theatre and Houston Ballet Choreography by Ben Stevenson Music by Franz Liszt Music Arranged by John Lanchbery Student Matinees Sponsored by In-Step Programs Sponsored by Pittsburgh Ballet Theatre's Arts Education programs are also supported by the following: Allegheny Regional Asset District Pennsylvania Department of Community Anne L. and George H. Clapp Charitable & Economic Development and Educational Trust PNC Charitable Trusts Dominion Foundation PNC Equity Securities, LLC Henry C. Frick Educational Fund of the PNC Foundation Buhl Foundation James M. and Lucy K. Schoonmaker The Grable Foundation Foundation William Randolph Hearst Endowed Edith L. Trees Charitable Trust Fund for Arts Education UPMC Health Plan The Heinz Endowments Mary Hillman Jennings Foundation Martha Mack Lewis Foundation Pennsylvania Council on the Arts Introduction Dear Educator: Pittsburgh Ballet Theatre would like to thank you for taking your students to see our production of Dracula. We know that it is difficult for educators to fit the arts into an already very busy academic schedule and we appreciate your belief in its importance in the education of our children. You are in good company: William Bennett, former U.S. Secretary of Education, describes the arts as “. an essential element of education, just like reading, writing, and arithmetic. Music, dance, painting, and theater are all keys that unlock profound human understanding and accomplishment.” Dracula will help unlock that understanding: it is a wonderful way to engage students in the arts. -
A Study of the Personality of Franz Liszt with Special
· ~ I (; A STUDY OF THE PERSONALITY OF FRANZ LISZT WITH SPECIAL REFERENCE TO THE CONTRADICTIONS IN HIS NATURE Submitted for the Degree of MASTER OF MUSIC Rhodes University by BERYL EILEEN ENSOR-SMITH January 1984 (ii} CONTENTS Chapter I Background Page 1 CAREER CONFLICTS Chapter II Pianist/Composer Page 17 Chapter III Showman/Serious Musician Page 33 PERSONALITY CONFLICTS Chapter IV Ambiguity in Liszt's Relationships - Personal and Spiritual Page 77 Chapter V Finally- Resignation ... Dogged Perseverance . .. Hopeful Optimism Page 116 ----oooOooo---- (iii) ILLUSTRATIONS Liszt, the Child At the end of Chapter I Liszt, the Young Man At the end of Chapter II Liszt, the performer At the end of Chapter III Liszt, Strength or Arrogance? At the end of Chapter IV L'Abbe Liszt Liszt, Growing Older Liszt, the Old Man At the end of Chapter V Liszt, from the last photographs Liszt . .. The End ----oooOooo---- A STUDY OF THE PERSONALITY OF FRANZ LISZT WITH SPECIAL r~FERENCE TO THE CONTRADICTIONS IN HIS NATURE Chapter I BACKGROUND "The man who appears unable to find peace there can be no doubt that we have here to deal with the extraordinary, multiply-moved mind as well as with a mind influencing others. His own life is to be found in his music." (Robert Schumann 19.4) Even the birth of Franz Liszt was one of duality - he was a child of the borderline between Austria and Hungary. His birthplace, even though near Vienna, was on the confines of the civilized world and not far removed from the dominions of the Turk. -
Liszt's And;Ogynous Ha;Mony Autho;(S): Zdenek Skoumal Sou;Ce: Music Analysis, Vol. 13, No. 1 (Ma;., 1994), Pp. 51-72 Published B
!"#$%&#'()*+,-.),/#'01+2,). (/%3,+4#56'7*8)89':9,/21; :,/+<86'=/#"<'()1;.#"#>'?,;@'AB>'C,@'A'4=1+@>'ADDE5>'FF@'GAHIJ K/L;"#38*'L.6'Blackwell Publishing :%1L;8'MN!6'http://www.jstor.org/stable/854280 . (<<8##8*6'AOPOAPJOAA'JJ6OJ Your use of the JSTOR archive indicates your acceptance of JSTOR's Terms and Conditions of Use, available at . http://www.jstor.org/page/info/about/policies/terms.jsp. JSTOR's Terms and Conditions of Use provides, in part, that unless you have obtained prior permission, you may not download an entire issue of a journal or multiple copies of articles, and you may use content in the JSTOR archive only for your personal, non-commercial use. Please contact the publisher regarding any further use of this work. Publisher contact information may be obtained at . http://www.jstor.org/action/showPublisher?publisherCode=black. Each copy of any part of a JSTOR transmission must contain the same copyright notice that appears on the screen or printed page of such transmission. JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. Blackwell Publishing is collaborating with JSTOR to digitize, preserve and extend access to Music Analysis. http://www.jstor.org ZDENEK SKOUMAL LISZT'S ANDROGYNOUS HARMONY The weakening of tonal syntax that characterises late nineteenth-century music was brought about in a variety of ways during the course of the century.* The established conventions of the preceding style were transformed by such means as increasing levels of dissonance, non- functional harmonic progressions, non-diatonic scales and the attenuation of the tonic-dominant polarity.' The late works of Liszt demonstrate many of these characteristics associated with the move towards atonality. -
Franz Liszt (1811—1886)
Simply Charlotte Mason presents usic tudy M with tShe Masters liszt “Let the young people hear good music as often as possible, . let them study occasionally the works of a single great master until they have received some of his teaching, and know his style.” —Charlotte Mason With Music Study with the Masters you have everything you need to teach music appreciation successfully. Just a few minutes once a week and the simple guidance in this book will infuence and enrich your children more than you can imagine. In this book you will fnd • Step-by-step instructions for doing music study with the included audio recordings. • Listen and Learn ideas that will add to your understanding of the music. • A Day in the Life biography of the composer that the whole family will enjoy. • An additional longer biography for older students to read on their own. • Extra recommended books, DVDs, and CDs that you can use to learn more about the composer and his works. Simply Charlotte Maso.comn Music Study with the Masters Franz Liszt (1811—1886) by Emily Lin and Sonya Shafer Music Study with the Masters: Franz Liszt © 2019, Simply Charlotte Mason All rights reserved. However, we grant permission to make printed copies or use this work on multiple electronic devices for members of your immediate household. Quantity discounts are available for classroom and co-op use. Please contact us for details. Cover Design: John Shafer ISBN 978-1-61634-445-0 printed ISBN 978-1-61634-446-7 electronic download Published by Simply Charlotte Mason, LLC 930 New Hope Road #11-892 Lawrenceville, Georgia 30045 simplycharlottemason.com Printed by PrintLogic, Inc. -
The Jlate Piano Works of Franz Liszt"
379 NSU Ms, 1071 THE LATE PIANO WORKS OP FRANZ LISZT, A LECTURE RECITAL, TOGETHER WITH THREE RECITALS OF SELECTED WORKS DISSERTATION Presented to the Graduate Council of the North Texas State University in Partial Fulfillment of the Requirements For the Degree of DOCTOR OP MUSICAL ARTS By Raymond Marchionni, B. Mus., M. Mus, Denton, Texas August, 1976 i /rv Marchionni, Raymond, The Late Piano Works of ffranz Liszt, — lecture Recital, Together with Three Recitals. Doctor of Musical Arts (Piano Performance), August, 1976, 21 pp., 15 illustrations, bibliography, 41 titles. The lecture recital was given April 2, 1973. A dis- cussion of Liszt's late piano works included information about specific compositional techniques and innovations which influenced twentieth-century composers. Five selections of the late works were performed by memory. In addition to the lecture recital, three public solo recitals were performed. The first solo recital, performed on April 9> 1972, consisted of works by Haydn, Beethoven, Ravel, and Chopin. The second solo recital, performed on August 4, 1974, included works by Beethoven, Debussy, and Brahms. The final solo recital, performed on April 5» 1976, consisted of works by Bach, Chopin, and Prokofieff. All four programs were recorded on magnetic tape and are filed, along with the written version of the lecture recital, as part of the dissertation. Tape recordings of all performances submitted as dissertation requirements are on deposit in the North Texas State University Library. 11 TABLE OF CONTENTS PERFORMANCE PROGRAMS Page First Solo Recital iv Lecture Recital. The Late Piano Works of Franz Liszt v Second Solo Recital vi Third Solo Recital vii LIST OF ILLUSTRATIONS viii THE LATE PIANO WORKS OF FRANZ LISZT 1 BIBLIOGRAPHY 19 111 North Tex'as State University School of A\usic present! Remo AWckionrti, Ftanist ma Graduate Recital Sunday, April % 1972 5:00 p.m. -
The Key Characteristics of Franz Liszt's Late Piano Works
The Key Characteristics of Franz Liszt’s Late Piano Works By © 2018 Mei Li Submitted to the graduate degree program in the School of Music and the Graduate Faculty of the University of Kansas in partial fulfillment of the requirements for the degree of Doctor of Music Arts. Chair: Jack Winerock Scott McBride Smith James Michael Kirkendoll Scott Murphy Jane Zhao Date Defended: 9 April 2018 The dissertation committee for Mei Li certifies that this is the approved version of the following dissertation: The Key Characteristics of Franz Liszt’s Late Piano Works Chair: Jack Winerock Date Approved: 9 April 2018 ii Abstract Many of Franz Liszt’s piano works have been analyzed and discussed in depth and in different ways, yet the piano music of his final period awaits exploration and initiation into the standard repertory. In this document, I discuss two main categories into which Liszt’s late works often fall: death and despair. I introduce biographical evidence from Liszt’s last years (1860– 1886), which might explain why these two categories had such a strong hold over his mental and musical world. I also focus on the key characteristics of Liszt’s late works: that is, why certain keys, as opposed to others, were chosen to express particular moods. Through the analysis of four pieces: Nuages gris (1881), La lugubre gondolas II and I (1883), and Unstern! (1881), I discuss pertinent musical ideas and characteristics to demonstrate Liszt’s manifestation of death and despair in his compositions. iii Acknowledgements I would like to extend my gratitude to each of my committee members. -
Liszt's Dutch Reimagination
Liszt‘s Dutch reimagination A review of the repertory deployed in the Dutch Liszt Festivals from 1980 to 1986 and the International Franz Liszt Piano Competition from 1986 onwards. Master‘s thesis Michael Huijbregts (3914399) Utrecht University, Faculty of the Humanities Master Applied Musicology Supervisor: Rebekah Ahrendt August 2019 ―Ma seule ambition de musicien était et serait de lancer mon javelot dans les espaces indéfinis de l'avenir.‖ FRANZ LISZT, LETTER OF 9 FEBRUARY 1874 IN BRIEFE, 7:57-58 (LEIPZIG: BREITKOPF & HARTEL, 1893-1905) 2 Contents Liszt‘s Dutch reimagination ............................................................................................................................. 4 Chapter 1: The first Liszt Festival (1980) ...................................................................................................... 7 Chapter 2: Embracing all of Liszt ................................................................................................................ 17 Chapter 3: The Liszt Competition ............................................................................................................... 20 Chapter 4: Towards a new image and renewed Liszt canon .................................................................. 23 Concluding remarks on 40 years of Liszt reception ................................................................................ 28 Bibliography .....................................................................................................................................................