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Liszt: Grandes études de Paganini, S. 141: No. 3, La Campanella
Paul Ji
6 Polish Songs, S. 480: II. Frühling (Arr. Liszt after Chopin Op. 74 No. 2)
Mariam Batsashvili
Liszt: Liebestraum No. 3, S. 541
Olivier Latry
Liszt: Ave Maria, S. 558 (after Schubert, D. 839)
Benjamin Grosvenor
Liszt: Les Préludes, S. 97 (Transcr. Lenaerts)
Anneleen Lenaerts
Love in London: Liszt – Widmung, S. 566 (after R. Schumann) [Live]
James Rhodes
Consolations, S. 172: No. 3, Lento placido in D-Flat Major (Transcr. Milstein for Violin & Piano) [Live from Meistersaal, Berlin / 2020]
Bomsori Kim & Rafał Blechacz
Liszt: 12 Études d'exécution transcendante, S. 139: No. 2, Molto vivace "Fusées"
Alim Beisembayev
Liszt: Der Doppelgänger, S. 375 No. 5 (After Schwanengesang, D. 957 No. 13 by Franz Schubert)
Pygmalion, Raphaël Pichon & Stéphane Degout
Liszt: 6 Consolations, S. 172: V. Andantino
Mariam Batsashvili
About Franz Liszt
Artist Biography
Franz Liszt’s life proved stranger than romantic fiction and every bit as colourful. Born in 1811 in Hungary, then part of the multi-ethnic Austrian Empire, he launched his career as virtuoso pianist during childhood and, propelled by an innate flamboyance, astonishing technical command and the demonic intensity of his playing, spread fan fever—or Lisztomania as it was named by the poet Heinrich Heine—as he toured Europe. Liszt turned popular operatic tunes into keyboard showpieces charged with technical fireworks, and composed works, including his Paganini and Transcendental Studies, that left audiences and fellow pianists weak at the knees. Liszt fathered three children by his mistress, the Countess d’Agoult, and formed a lasting relationship with his second great love, Princess Carolyne zu Sayn-Wittgenstein, while periodically turning to religion as a refuge from earthly pleasures. In 1847, he quit the touring circuit and soon settled in Weimar, where he raised its court orchestra to star status and invented the symphonic poem to advertise its artistry. Living in Rome in the 1860s, the former wild man of music took holy orders and underlined his deep faith with two visionary oratorios, St. Elisabeth and Christus. His late piano pieces, the sublime Nuages gris and Bagatelle sans tonalité among them, point to Debussy’s impressionism and the coming revolution of musical modernism.
Hometown
Doborján, Kingdom of Hungary, Austrian Empire
Genre
Classical
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