For most of us, the name of Franz Liszt conjures up a two word phrase: piano virtuoso. Liszt gave us the piano recital: before him, no pianist was so sure of his prowess and showmanship as to dare to book a large concert hall and pull in an adoring audience there to see just one man playing the piano for an entire evening.
Liszt’s vast array of piano pieces abounds with showmanship: whether or not they are more difficult to play than other composers’ works, they sound more difficult and more impressive. But amidst all the razzmatazz, it’s easy to overlook the depth, variety, innovation and sheer quality of the music. His masterwork, the single movement Sonata in B Minor, builds a series of themes into a massive musical structure with a coherence that would later be echoed in the operas of his son-in-law Richard Wagner. The shorter Totentanz is utterly convincing in its depiction of a series of shifting moods, while the Hungarian Rhapsodies alternate joyous fireworks with moments of rare delicacy. Equally impressive are Liszt’s transcriptions and “reminiscences”. Listening to his Reminiscences de Norma gives you the uncanny feeling that you’re listening to the original Bellini opera, while being aware that this can’t possibly be right since there’s only one man and a piano. Liszt formed part of the democratisation of music to wider audiences, playing music by many other composers and transcribing Beethoven’s nine symphonies for the piano.
Liszt’s output stretched far beyond piano works, including wonderful religious music and orchestral works, notably the Faust Symphony and a series of symphonic poems.
Liszt was born in 1811 to a musical German-speaking family in Sopron, in a small finger of Hungary very close to the Austrian border and the Esterhazy Palace in Eisenstadt where Haydn was employed for many years. He was taught by Carl Czerny (the author of the dexterity studies still used by many of today's piano students) and was recognised early as a child prodigy: his one act opera Don Ssanche, ou le château de l’amour, received its première five days before his fourteenth birthday. For the first half of his life, he lived as a travelling musician, touring the major cities of Europe (particularly Paris) and dazzling an ecstatic public. His superstar nature was reflected in a prolific and tempestuous love life; although he had a series of highly public affairs and several children, he never married. In 1847, he gave up public performances to focus on composition and teaching, living first in Weimar and then in Rome. He became a revered and influential teacher: extraordinarily, he did not charge for lessons, believing that he had already made enough money from his music.
For much of the twentieth century, critics belittled Liszt’s music as flashy and superficial: he was seen as the dead end of a decadent romantic movement. More recently, music scholars have been kinder, perceiving compositional techniques which have strongly influenced 20th century music. But throughout this time, his works have been continuously popular with pianists and audiences, and he stands as one of the most memorable composers of the 19th century.
|Date and venue||Title|
Carnegie Hall: Stern Auditorium/Perelman Stage
|Joy and wonder at Evgeny Kissin's Carnegie Hall recital|
|Evgeny Kissin is more than a collection of bones and flesh and crazy hair: he is a sensation. Every May for the past several years, the pianist has performed a recital on the Perelman stage at Carnegie Hall, and every year the tickets have sold out by mid-October, seven or eight months in advance. These recitals are the pinnacle of any concert-goer’s season. They are the Super Bowl of classical music, or the release of a new Harry Potter book, or Easter Sunday, when suddenly church congregations surge to twice their usual attendance.|
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Chicago Symphony Center
|Kissin, the Viennese, at Symphony Hall in Chicago|
|Let me first describe the sound of the applause: taut, front-heavy, explosive. This was before Evgeny Kissin played his first note at Symphony Hall this past Sunday. It was a packed house, with an audience that spilled out of the choir loft and onto several rows of chairs wrapped around the piano. And as he finished – during his fourth encore, a prelude by Chopin – a middle-aged couple stood by the door on stage, holding hands, listening intently, needing to leave, not wanting to go.
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National Concert Hall
|Compelling Khozyainov's return visit to Dublin|
|This was Nikolay Khozyainov’s first return visit to Dublin after having deservedly won first prize in the Dublin International Piano Competition last year. I particularly recall a brilliant and compelling interpretation of Rachmaninov’s Piano Concerto no. 3 in the final. Consequently, expectations were very high for this evening’s performance. At age 21, the young Russian seems to have swept all before him, from getting second prize in the Sydney Piano Competition last year to giving his Carnegie Hall debut next week.|
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Birmingham Town Hall
|A bright and brilliant lunchtime in Birmingham with Jayson Gillham|
|No wonder Jayson Gillham looked pleased to be back on stage at Birmingham Town Hall. It must have brought back some happy memories, as it was here that he won first prize in the 2011 Brant International Piano Competition. In the intervening couple of years, he’s built up an inspiring CV. He played Beethoven’s Emperor Concerto with the Hallé as a finalist in the 2012 Leeds International Piano Competition, was named Commonwealth Musician of the Year, 2012, and has accumulated concert credits throughout London, across Europe and back home in Australia.|
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