franz liszt bio essay

8/10/2019 Franz Liszt Bio Essay

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By the end of the Classical era came the demand for music with less structure

and a freer musical form. Effects of the French Revolution at the end of the 18th

century saw changes in political and social reforms, where individualism,

nationalism, and escapism were only some of the new ideas that would surface

artistically. Classicism was about balance and symmetry and Romanticism reacted

in opposition to these fixed structures by playing with freer forms filled with lyrical

melodies that painted pictures and told stories evoking listeners to the imaginary.

Franz Liszt was born at a time where all these ideas were starting to shift and take

on new forms. At the center of one of the largest cities for music, the Hungarian

Composer would write lyrical music that captured the spirit of his time.

Born October 22, 1811 in Raiding, Hungary, near the one of the largest hubs

of music, Liszt was no stranger to the fine arts. His father had played cello in Haydns

orchestra, which exposed Liszt to music at a very young age. He started learning

piano at the age of 6, then composing, and performing at concerts in the years to

follow. By age 10, the family had moved to Vienna so Liszt could pursue piano and

composition with the greats. Carl Czerny, a student of Bach, known for his technique

books, taught Liszt the discipline of piano playing. While Antonio Salieri, music

director in the Viennese court, teacher of both Ludwig van Beethoven and Franz

Schubert, instructed Liszt in composition. In 1823, at 12 years old he started his

performing career starting in Paris and soon touring around many parts of Europe

including London, Belgium, and Hamburg. With the unfortunate death of his father

in 1827, Liszt and his mother settled in Paris, where he read extensively on music

and literature. For the next twenty years Liszt would teach but mostly perform.

During his time on stage, Liszt modernized the culture of piano performance by

introducing thepiano solo recital. These piano soliloquieswere now played with thepiano facing parallel to the audience, showcasing the players visual performance.

Pieces were usually memorized as to focus on his virtuosity and improvisation

skills. His stage presence was one to be remembered and revered.

1832 was a year he was exposed to different influences that shaped Lisztslater

works. In early spring he attended a concert featuring Niccolo Pagnini. Paganinis


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performance was so striking that Liszt was determined to concentrate on his

playing in order to achieve the same kind of virtuosity on the piano after the

violinists talents he so admired. In late 1832, Liszt attended the premiere of

Symphonie fantastique by Hector Berlioz, again leaving Liszt in awe. Berlioz, did not

have a conventionalmusical education therefore he was very creative in a sense that

he wasnt confined to atraditional forms of music; From Berlioz, Liszt learned to

think on a bigger scale. Chopin, also in Paris at the time, had also left an impression

on Liszt. Known as the poet of piano, Chopins use of subtletly, almost understated

but complex harmonies, helped Liszt refine his writing, and style.

Large portions of Liszts early works includehundreds of orchestral

transcriptions for piano; among them was PaganinisViolin Concerto No. 2 in B

minor, La Campanella. He was interested in the idea of thematic transformation:

changing the theme rhythmically, harmonically using different tempos and different

instruments. Liszt also favoured mediant and submediant relationships as tonal

centers in his work as did more and more harmonies of the Romantic musical style;

which was far from the typical relation of tonic and fifths. He developed the

symphonicor tone poem; a single movement orchestral piece associated to a poem,

story, or picture to programs such as, Les Preludes. Liszt was also known for quick

tempo changes, pieces filled with relentless chromatic passages and tempo rubatoin

his work including the renowned, Piano Sonata in B minor.

Throughout his lifetime Liszt had many amorous affairs due to his stardom,

but two women stood out as long standing and very influential on his music. He

would meet Countess Marie d'Agoult sometime in 1833 and for the next few years

Lisztscreative outlet would flourish with numerous piano works including pianoduos and orchestral pieces. Liszt was settled in Vienna for a while but did extensive

performing at the height of his fame and travelled everywhere with the Countess,

and (eventually) with their three children. With many ups and downs in his career,

their separation in 1839 included, this was definitely the period where he had

achieved the most recognition as a virtuoso.


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In 1847 at a concert Liszt had performed in Kiev, he met Princess Carolyne von

Sayn-Wittgenstein. She would eventually follow Liszt to Weimar as he took up the

position of Grand Ducal Director of Music Extraordinary. During his thirteen-year

stay in Weimar he focused on composing and conducting music. Liszt would go on to

write many symphonic programs, etudes, and piano concertos. With the rest of his

time in Germany, Liszt taught music using his own master classtechnique; this was

where any pupil willing to learn would perform in front of him and fellow peers. It

was showcasing but critiquing in order to develop a players musicianship, a method

that is still used today. In 1861 he followed the Princess to Rome but their

relationship ended shortly after.

Liszt had always been interested in joining the church, but at an early age his

mother convinced him to go with music. Sacred music was written during a dark

period where his son, Daniel, daughter, Blandine, and mother would pass. Liszt dealt

through this dark period by semi-retiring from performing and focused on

religious studies. In 1865, he would go on to acquire minor orders in the Catholic

Church. His time in Rome, up until 1866, would be spent occasionally performing

oratorios, such as Cantico del Sol di Francesco d'Assisi a dedication to his

Franciscan order.

His final years were spread between Rome, Weimar, and Budapest teaching

master classes a few months each year, but around 1881 much of this slowed down

due to ailments of old age. His last concert was held in July 19th, 1886 and shortly

after on July 31sthe passed leaving behind a legacy. Being the most brilliant virtuoso

pianist, Liszt lived up to a reputation that rivaled almost none in his lifetime and

afterwards. His stardom was all but deserved for his contributions in writing andsetting the bar for performance. Franz Liszt emulated Romantic music style with his

lyrical expression, tempo rubato, and rapid repeating notes to name a few. His

contributions in thematic transformations and innovation of the tone poem would

leave a lasting mark in piano composition and the modern concert industry.

franz liszt bio essay

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