Happy Birthday Franz Liszt! 5 Absurd Moments From the Eccentric Pianist's Life
Theodor Hosemann's 1846 caricature of Franz Liszt ( Public Domain )
Franz Liszt (1811-1886) was a celebrated composer and pianist, but at his peak, he was also regarded as a premiere showman. He enjoyed being a celebrity, and as long as attention was on him, he made sure to act the part. Today, we mark his birthday with five anecdotes that will get you acquainted with Liszt the Celeb.
Piano Battle
In 1836, Liszt found himself with a child to support. He and his paramour, the author Marie d’Agoult, were parents, which is great; but broke, which is more than slightly inconvenient. Liszt knew he had an incredible piano talent and decided to tour through France in order to raise some money. However, his concerts weren’t selling out and, to make things worse, his rival Sigismond Thalberg began making moves on Liszt’s Parisian stomping grounds. This kind of behavior did not sit well with Liszt and his ego. So, Liszt challenged him to a piano duel.
At the battle, Liszt tried to win audiences over with, among other pieces, his Divertimento sur une Cavatine de Pacini. True, audiences did like it, but they also liked Thalberg’s playing too. The contest was declared a draw, and Liszt refused to speak of Thalberg in public ever again.....
On 13 January 1886, while Claude Debussy was staying at the Villa Medici in Rome, Liszt met him there with Paul Vidal and Victor Herbert. Liszt played Au bord d'une source from his Années de pèlerinage, as well as his arrangement of Schubert's Ave Maria for the musicians. Debussy in later years described Liszt's pedalling as "like a form of breathing." Debussy and Vidal performed their piano duet arrangement of Liszt's Faust Symphony; allegedly, Liszt fell asleep during this.[33] https://en.wikipedia.org/wiki/Franz_Liszt
On 13 January 1886, while Claude Debussy was staying at the Villa Medici in Rome, Liszt met him there with Paul Vidal and Victor Herbert. Liszt played Au bord d'une source from his Années de pèlerinage, as well as his arrangement of Schubert's Ave Mari……
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Saint Francis of Paola, in an engraving by Marco Pitteri, after Federiko Benković
The Deux légendes (French: Two legends) are a pair of pieces for solo piano, (S.175 in the catalogue compiled by Humphrey Searle) by Franz Liszt, written in 1863.
In 1863 Liszt made an orchestration of both legendes , S. 113 a/1 and S. 113 a/2.
No. 1: St. Francis of Assisi's sermon to the birds[edit]
St. François d'Assise: La prédication aux oiseaux, S.175/1 is based on a story of St Francis of Assisi. It is said that, one day, while Francis was travelling with some companions, they happened upon a place in the road where birds filled the trees on either side. Francis told his companions to "wait for me while I go to preach to my sisters the birds." The birds surrounded him, intrigued by the power of his voice, and not one of them flew away.[1] The key of the piece is A major, often associated by Liszt with religious sentiment.[2] The piece contains representations of birdsong, one of the few examples in Liszt's works of onomatopaeia.[3]
No. 2: St. Francis of Paola walking on the waves[edit]
St. François de Paule marchant sur les flots, S.175/2 is based on a legend of St. Francis of Paola, according to which he was refused passage by a boatman while trying to cross the Strait of Messina to Sicily. He reportedly laid his cloak on the water, tied one end to his staff as a sail, and sailed across the strait with his companions following in the boat.[4] The piece was inspired by a picture owned by Liszt of St. Francis of Paola (who was Liszt's name saint), drawn by Eduard von Steinle. Liszt described it in a letter of 31 May 1860 to Richard Wagner: "On his outspread cloak he strides firmly, steadfastly, over the tumultuous waves - his left hand holding burning coals, his right hand giving the sign of blessing, His gaze is directed upwards, where the word 'Charitas', surrounded by an aureole, lights his way!"[5]
Franz Liszt died on 31 July 1886. He is considered the world's first pop star in the modern sense, complete with scandalous stories involving womanising, alcohol and hysterical fans. Liszt captivated audiences with his incredible skills on the piano and toured Vienna, Paris and Weimar, giving the city to its second golden era after Goethe.
Franz Liszt – The central figure, Hungarian composer, virtuoso pianist, and teacher.
Moriz Rosenthal – Celebrated Polish pianist and one of Liszt’s most distinguished students.
Victoria Stremoukhova – A Russian pianist and one of Liszt’s talented pupils.
Mele Paranioff – A lesser-known student within Liszt's Weimar circle.
Annette Hempel-Friedheim – Pianist and the wife of Arthur Friedheim, another of Liszt's notable pupils.
Hugo Mansfeld – Composer and pianist, part of Liszt’s masterclass.
Sally Liebling – Renowned pianist and music educator, one of Liszt’s students.
Alexander Ziloti (Siloti) – Famous Russian pianist, conductor, and close associate of Liszt. He was later the teacher of Sergei Rachmaninoff.
Arthur Friedheim – One of Liszt’s most favored students and his secretary, considered among the most brilliant Liszt interpreters.
Emil von Sauer – Prominent German pianist, composer, and pedagogue, closely associated with Liszt's legacy.
Alfred Reisenauer – Celebrated German pianist and conductor, recognized as one of Liszt’s last pupils.
Alexander Wilhelm Gottschalg – German organist and music theorist, known for his association with Liszt.
In October 1884, Johannes Brahms was primarily focused on the final stages of composing his Symphony No. 4 in E minor, Op. 98
Brahms spent the summer and early autumn of 1884 in the small town of Mürzzuschlag, located in the Styrian Alps of Austria. Known for its tranquility and inspiring natural surroundings, it was an ideal place for Brahms to compose. He often retreated to the countryside to work in peace, away from the bustling city life.
Work on Symphony No. 4
Brahms began composing the symphony in the summer of 1884 and continued refining it into the autumn.
The symphony is notable for its serious, introspective character and complex structure, culminating in a powerful final movement written as a passacaglia—a Baroque form consisting of a theme and variations, inspired by Bach’s Cantata BWV 150.
By October 1884, Brahms was finalizing the orchestration and working on the intricate details of the fourth movement.
The symphony would receive its premiere on October 25, 1885, in Meiningen, under the baton of Hans von Bülow.
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