Franz Liszt has emerged as one of the most awe-inspiring figures in all of music history. Regarded by most as the greatest pianist of all time, Liszt's genius extended far beyond the piano to expand musical composition and performance well beyond its 19th century limitations. His unique compositions bewildered, inspired, and inflamed the imaginations of his own era, yet quite miraculously, he also laid the seeds for a series of schools that would flourish in the near and distant future. Namely, the Late Romantic, Impressionist, and Atonal schools. For these remarkable contributions, Liszt is unique, and his immense influence is unquestionably monumental.

A brief overview indicates...

1. Liszt's piano compositions stand as pinnacles of the literature. His vast array of innovations in keyboard technique and overall development remain unrivalled.

2. He invented the symphonic poem - a new and elastic single-movement form, which many subsequent composers, like Richard Strauss, Tchaikovsky, Dvorak, Saint-Saëns and Sibelius, embraced. Liszt's single movement work is at the core of most contemporary and popular music forms today. Previously, all musical forms were organized and structured into several movements. Symphonies, concertos etc. were all divided into generally three to five different movements, each with varying tempos and themes, which, in total, complimented each other. However, all were interrupted by a pause. Liszt was bold enough to abolish this restraint, whereby devising a single, sweeping movement that carried the listener from beginning to end—seamlessly without any "dead" disruptive pauses. Many of these innovative tone poems were based upon Liszt's novel transformation of themes. For example: Liszt would launch the piece with a small kernel, or musical phrase, which journeyed through various transformations, each evoking a different stage of development in regards to the specific subject being treated, thus culminating into an appropriate finale—be it soft and ethereal, as in Orpheus, triumphant, as in Tasso, or the fateful moan of the dying Hamlet. This contribution to music history by itself is enough to secure Liszt a golden throne in the Pantheon of Composers, however, this is only one small facet of many that this glittering master bequeathed to the world. Liszt's Symphonic Poems: No.1) Berg Symphony, No.2) Tasso, No.3) Les Préludes, No.4) Orpheus, No.5) Prometheus, No.6) Mazeppa, No.7) Festklänge, No.8) Héroïde funèbre, No.9) Hungaria, No.10) Hamlet , No.11) Battle of the Huns, No.12) Die Ideale, No.13) From the Cradle to the Grave

3. Liszt's music evoked deep psychological and emotional impact, far exceeding what existed previously. Thus he opened new dimensions not only in the world of music, but also in human awareness to the immense impact this emotional and mysterious form of communication could have on humans. Liszt is documented as being the first person to ever attempt using music as therapy while visiting sick and demoralized patients in hospitals. The majority of Liszt's compositions breathe and flow with a human pulse of passion, rather than a metronomic, or robotic, beat that is too often a slave to cold, mathematical-like notation. The dark timbres of the Dante Sonata, Hamlet, Dante Symphony or the passionate swells of Harmonies du soir are all sonic premieres in human history. Pushing beyond the mathematics of Bach, the grace of Mozart or the brotherhood of Beethoven, Liszt released the very heart, soul, and— to some people's chagrin —demons of mankind. Wagner's great "Ring", especially Siegfried, could never have been born without knowing Liszt. Grieg's famous Hall of the Mountain King shows a kinship to a moment in Liszt's Inferno movt. from the Dante Symphony. Dvorak's popular Largo from his New World Symphony also derives colorings found in the intro of Liszt's Purgatory movt., again from Liszt's Dante Symphony. The power and breadth of Liszt's music clearly touched many, yet sadly, Liszt rarely, or never, received credit...until now.

4. Liszt was one of the first modern conductors; breathing life into a score in lieu of merely beating time, thus focusing more on fluid expression rather than a cold metronomic beat. While a metronome does have its place in certain circumstances, over-use and strict adherence drains a performance of its humanistic beauties, especially works from the Romantic era. Unfortunately, there are still many performers today that roboticize Romantic music. Just because we live in a progressively industrial and computerized world doesn't mean we should abandon our humanity. This is not to say that all works must abandon the metronomic beat, as it certainly is mandatory with certain works, such as Ravel's Bolero or Shostakovich's third movement from his 8th Symphony for example. But when performing romantic works that breathe with passion and intense mood swings it's imperative to feel the beat with one's heart and not one's mind. So, perhaps many instructors today should heed Liszt's advice - don't use a metronome!

5.Liszt developed the transformation of themes, later imitated by Wagner as a leitmotif. As mentioned earlier, this formed the galvanizing structure that kept the symphonic poems together, yet he also utilized this in his concertos, the mighty B minor sonata, and his profoundly moving and effective symphonies.

6. Liszt was the first and true inventor of impressionism and atonal music, well before Debussy and Schoenberg.

7. Liszt was the first to fully orchestrate on the piano, utilizing all its undiscovered resources, earning him the moniker King of the piano. The lush blankets of sound that Liszt summoned from the piano were strikingly novel, and they profoundly expanded the possibilities for all others that followed. Tchaikovsky, Grieg, Saint-Saëns and others were young, impressionable peers of the master, and their Lisztian concertos likewise enabled Rachmaninov, Adinsell, Gershwin and others to follow, right up to the present day, such as Keith Emerson with his classical piano concerto—all being children of Liszt.

8. With praiseworthy benevolence, Liszt taught freely to well-over 400 students, procuring a vital school of disciples; Von Bulow, Rosenthal, Siloti, Friedheim, d'Albert and others who all carried his blazing torch forward. Likewise, he was the first, and perhaps greatest musical philanthropist by raising funds for national disasters and charities, or erecting the Beethoven monument, which was largely due to his efforts.

9. He created strikingly original orchestrations utilizing unconventional instruments, such as the triangle (Piano Concerto #1), harp (Dante Symphony), and bass drum (Héroïde Funèbre).

10. Liszt invented the piano recital and master class, both indispensable to modern audiences and students respectively. He had perfect pitch, and was the first performer to play entirely from memory, thus forging today's commonplace standard.

11. Selflessly, Liszt promoted the works of fellow composers; Wagner, Grieg, Smetana, Berlioz, Debussy, Saint-Saëns, Faure, Borodin and others who all likewise gained valuable artistic insights into their own creativity by studying this grand master.

12. And perhaps most importantly, Franz Liszt altered the course of music history more than any 19th century composer, as the future would follow Liszt's direction, not Brahms or the traditionalists who followed Beethoven's classical structure, which he in turn adopted from Mozart and Haydn. Read more about Influence and the Creative Process.

To comprehend the rare and powerful genius of Franz Liszt it is crucial to not only examine the complex higher-being that he was, but also reveal the ignorance of his detractors (with the aid of hindsight and wisdom), for they have sadly amassed a dark cloud of skepticism that has obscured reality. And quite unfortunately, that blinding bias can still be witnessed today.

With the aid of hindsight, it has become painfully evident that many rivals and turncoat friends did a great injustice to this man. None of them—Hanslick, Clara Schumann or Joachim, to name a few—were as magnanimous or gifted as he was and perhaps they resented it. Like the high praise Liszt once received from Clara until he became a superstar, when she completely reversed her opinion— adding how she loathed how the frenzied women fell at his feet.

That Liszt's works were not seriously considered was in part due to his catering to the public with show pieces. These dazzling crowd-pleasers also helped to make Liszt popular and world famous, however he was breaking new ground on several fronts. First: by devising the piano recital, which was made possible by his unrivalled ability to orchestrate on the piano. Liszt's rich, lush blanket of sound was strikingly new and compelling. Second: by playing demanding virtuoso pieces that only he could perform (which were in vogue at the time), thus becoming the first musical superstar. Third: (a neglected point), he is rarely given credit for exposing the works of the old masters to audiences that otherwise could never have heard these works, since radios or stereos didn't exist. He did this both in original form, and by operatic transcriptions and paraphrases, the latter being significantly enhanced with his own original scoring, and Fourth: by playing to broader mixed audiences, not just for kings, queens and the aristocracy. Hence, Liszt brought music to the general public and established modern musical practices. That some crowds craved the pure excitement generated by the more shallow or bombastic pieces, however, deeply offended the intellects.

As such, some critics condemned him from the very beginning—a dark cloud that lingered over him for a lifetime. Yet, it's interesting how some of these intellects couldn't comprehend the complexity of his serious pieces, or they dismissed his works on the grounds that no single person could be both a star performer and a great composer. Liszt couldn't win with these mental midgets. In general, they loved his performances and technique, but despised his compositions. It's amazing how the pen of one single-minded critic can wield devastating control over public opinion.

Even today many people will forfeit seeing a movie based upon a critic's review. Many times this can destroy box office sales and plummet a film into obscurity. Yet with time and a lack of bias, it may secure a revival via the video rental market. Many excellent films have risen from the ashes this way, and so, too, has Liszt risen like a phoenix. This phenomenon can be succinctly witnessed in a personal letter that Liszt wrote in 1875, "For people now-a-days hear and judge only by reading the newspapers. I mean to take advantage of this in so far that the leading and favorite papers of Vienna, Pest, Leipzig, Berlin, Paris, London, etc.--which abhor my humble compositions and have declared them worthless and objectionable--shall be relieved of all further outward trouble concerning them. What is the good of performances to people who only care to read newspapers?"

Amid all this unjust bias we must never ignore the countless accolades by Hector Berlioz, Richard Wagner, Robert Schumann, Edvard Grieg, Chopin and many others of high esteem that simultaneously revealed the awe generated by his superlative performances, and more importantly...their admiration for his bewildering and ingenious compositions.

"I am writing without knowing what my pen is scribbling, because at this moment Liszt is playing my études and putting honest thoughts out of my head. I should like to rob him of the way he plays my études." -Frédéric Chopin.

"Now you must bear in mind, in the first place, that he had never seen nor heard the sonata, and in the second place that it was a sonata with a violin part, now above, now below, independent of the piano part. And what does Liszt do? He plays the whole thing, root and branch, violin and piano, nay, more, for he played fuller, more broadly. The violin got its due right in the middle of the piano part. He was literally over the whole piano at once, without missing a note, and how did he play! With grandeur, beauty, genius, unique comprehension. I think I laughed—laughed like an idiot." -Edvard Grieg

Furthermore, in reading David Dubal's "Reflections from the Keyboard", he indicated how the majority of great pianists, from Liszt's era to the present, were all enamored and influenced by Liszt's fertile mind and visionary achievements. Their reflections of this great man were very revealing and moving. In fact, a brief summation of Liszt in the book states, "he possessed the most pianistic mind in history." Liszt explored, expanded and revealed the full potential of the instrument more than any other composer in history. And that impressive list of admiration by prominent pianists does not even touch upon Liszt's phenomenal orchestral achievements.

This commentary hopes to clear the air, since the reader is probably familiar with the lies, misconceptions or the attacks on his work and personal life. Yet we won't lose sight that he did make mistakes. The trail to unexplored horizons is always littered with failures. Liszt has many works that attempt novelty and don't succeed in total, but usually even these failures contain small seeds of pure gold. Some seeds would remain trapped in failures, while others would be transplanted into more successful works months, years or even decades later. This godlike figure was in fact human- yet his saintly critics never gave him that consideration, as they just yearned to crucify what the public adored. Expecting any human, who is pushing the boundaries as far as he did, to produce only flawless works is simply unrealistic. What is key to remember is this...we mortals all have flaws, yet none of us can create like Liszt. And that speaks volumes.

Some critics relished Liszt's amorous affairs, which fueled scathing attacks and vivid imaginations. But it must be noted, it was primarily the women who hounded Liszt, who was a handsome young star who grew up to be an iconic figure, and as such, was constantly approached by women with flaming hormones, who had a desire to capture and possess or just to copulate with fame. Liszt did get entangled with women, however tabloids in the 19th century weren't much different than those today, as human nature evolves much slower than technological advances, and many affairs were pure fabrication—blowing reality into an unnatural viagra-like distortion of preposterous proportions.

Yet, even though Liszt certainly had a weakness for woman, he was predominantly cited as being kind, generous and always a gentleman. And although his relationship with Marie d'Agoult was unorthodox, he did stand firm to gain custody and support his children. He even refused Wagner a loan on the grounds of saving for his children's education. Fortunately for Liszt's mother, who raised the children, they obtained some emotional stability amid their parent's turmoil. Liszt knew how integral his mother was in this capacity, and in a letter he spoke quite eloquently of his love for her, "I thank my mother with reverence and tender love for her continual proofs of goodness and love. In my youth people called me a good son; it was certainly no special merit on my part, for how would it have been possible not to be a good son with so faithfully self-sacrificing a mother?--Should I die before her, her blessing will follow me into the grave." Yes, Liszt could have been a much better father, but the world would have been stripped of many monumental masterpieces that have thrilled and enhanced millions of peoples lives. Moreover, music history would have been doomed to take a far less adventurous path, and it's hard to fathom just what kind of music would have materialized today without a revolutionary reformer like Liszt.

Adding to Liszt's woes, Marie d'Agoult and George Sand (partners to Liszt and Chopin respectively), plagued the public with catty gossip—disguised in the form of pathetic literature. Each woman dipping her pen in poison to concoct a nasty novel about their former lover. Both scathing novels painted lame pictures of Liszt and Chopin, with the failed hopes of making fiction nonfiction.

Yet, it's keen to note that, Sand was informed of a back-stabbing letter that Marie wrote about her and Liszt, while they were all still friends, and retaliated by painting a grim picture of Marie in her novel Horace. Sand also informed Balzac of Marie's cold nature, prompting Balzac to cast a cold portrait of Marie in his book Beatrix, which many felt was a fairly accurate portrayal. Those who rallied behind the notion of the angelic Marie (coldly abandoned by the demonic Liszt) were only duped by this feline fabricator of fiction. Evidently, many writers repeated this gossip, as even the 1960 film "Song Without End" was laced with these false and unfortunate distortions.

Amid these character assassinations Liszt and Chopin remained gentleman, never lowering themselves to the malicious hen-pecking of their counterparts. That in itself reveals a good deal about each of the real life characters involved. Additionally, the letters of Liszt and Marie that have now come to surface clearly reveal their characters in non-fictional words. In light of the new documented evidence of Marie's mental instability, even previous to meeting Liszt, it's understandable why Liszt never retaliated. We, too, must grant her sympathy, but the scars still remain.

To further attest to Liszt's good nature, it goes without debate that, Liszt is regarded as the most generous of all the great composers, concerning both his pupils and peers. The numerous lives that have benefited by Liszt's generosity, and the abundant praise written about him by those in close personal contact, all attest to his being too good to a fault. Even when he was not on speaking terms with Wagner, or shunned by the Schumann's later in life, Liszt never abandoned his regard or promotion of their work. Astonishingly, he even refrained from promoting his own works to secure a foothold for his colleagues. Again, most rare.

As for the critics' attack on his avant-garde music, their inability to grasp something far greater than their own self-inflated intellect has caused their own demise. Their fate fell to the course of time...only to reveal Liszt's colossal influence and their own Lilliputian limitations. Liszt was never forgotten, as they would have hoped, as many great pianists like; Bulow, Friedheim, Horowitz, Earl Wild, Cziffra, Arrau, Jorge Bolet, Van Cliburn, Kiss, Howard, Lisitsa and countless others have kept Liszt's music alive over the past two centuries. Additionally, many Hollywood films featured his work, such as "Captain Blood" with Errol Flynn (Prometheus, Mazeppa) "Flash Gordon" (Les Préludes) and we cannot forget how even the Marx Brothers loved toying with his Hungarian Rhapsody #2, as did Bugs Bunny or Tom & Jerry, as well as appearing in "Roger Rabbit" and many other flicks.

Likewise, not many composers have films made about them, but Chopin, Mozart, Beethoven and Liszt did, even though the movies about Liszt still distort and taint his character. Yes, Liszt was flesh and blood and made mistakes, but his miraculous musical achievements (which dramatically altered music history) and his selfless goodwill to his fellow man reach the pinnacle of human endeavor. Thus earning him the title "Godlike" from many then and perhaps even more now. In hindsight, Liszt's influence can only be termed "colossal."

Many then and now have also been intrigued by the master's magical hands

Plaster casts had actually been made while Liszt was still alive, allowing viewers today a chance to marvel at these mystical devices of wonder. The myth that all great pianists have long slender fingers most likely originated after viewing Liszt's hands—although today we know many great pianists do have short and thick fingers. Upon viewing the casts, we clearly see that Liszt had slender fingers, yet not exceedingly long. However, what these casts do compellingly revealed was that, the web-like connective tissue between the fingers was almost nil, allowing for a much wider spread than a normal hand of similar proportions. This physical trait allowed Liszt greater flexibility and a wider reach, but we must always remember, the real source of magic came from Liszt's heart, soul and mind.

At some venues Liszt performed with two pianos on stage. This was done so that, when one piano was whacked out of tune he could continue on the other. It's not that Liszt smashed the keys like a madman, it's just that pianos at that time were still in a transitional state—basically, they were lightweight harpsichords being transformed into sturdy pianos with more keys. Many virtuosos at that time were beginning to demand a more powerful instrument, and Liszt lead that wave of evolution, as his orchestrated sounds on the keyboard were far in advance of any other composer of his time. Many manufacturers leapt to the master's insightful wishes and even developed instruments exclusively for him. This musical legend was indeed akin to the ancient Greek legend of Orpheus. Liszt had even written a symphonic poem (and a transcribed version for piano) about this poet/musician par excellence--someone he could certainly identify with. In fact, could Liszt have been Orpheus in a previous life? Okay, a fanciful thought, but the similarities are present.

It's odd that, despite Liszt's popularity some sadly neglect the full breadth of his worldly visions and contributions. Liszt wasn't all tinsel or thunder and lightening. It is interesting to note that Leonard Bernstein praised Gustav Mahler for his worldly variety, yet Liszt, in comparison, exceeds even Mahler. Whereas Mahler tried to incorporate the world into his symphonies from a personal and inward perspective Liszt's perspective was cultivated by a life of traveling and being a multicultural sponge. Thus he was able to achieve what others could only imagine. Simply put, Liszt had more to offer.

Just by perusing Liszt's output one can see his diversity. His oeuvre included multinational pieces (Spanish Rhapsody, Abschied etc.), deeply religious works (the Oratorios, Psalms, Masses etc.), silly romps (Grand galop chromatique), tinsel (Hexameron), doleful laments (La lugubre gondola), dreamy pieces (Piano Concerto #2 - intro), triumph over adversity (Tasso, Prometheus), portraits (Hamlet, Orpheus, Ladislaus Teleki), impressions (Les Jeux d'Eaux a'la Villa d'Este, Les cloches de Geneve), bombastic tour de forces (Mazeppa), folk songs & waltzes (Hungarian Rhapsodies, Mephisto Waltz) spine-tingling virtuosity (Totentanz,etc.) and of course tender love melodies (Liebestraume, Romance oubliee, etc.).

Liszt's music vividly takes us on a journey through the various realms and mysteries of life. Both, outwardly from his worldly interest in people, cities and nature, and inwardly into the depths of his profound beliefs in art, literature and religion.

Numerous reviews highly praised his achievements, as he was the first superstar adored by the masses, and probably no other composer in history received as much media attention in their lifetime. Yet, that sinister sector of brutal critics or the vicious gossip columns did soil his reputation. The result was a culmination of improprieties that "temporarily" blurred the vision of history. It's unfortunate that Liszt had to endure such humiliation, as he would in later life insist to his students not to perform his works in public, since the selfless Liszt didn't wish to hinder their careers. Yet, it's comforting to know truth does eventually prevail. For music history has dramatically been altered by the ingenious inventions of this superlative master far more than any such rivals, and quite possibly more than any other composer in history. And, yes, that includes the sacred Beethoven, Bach and Mozart, as well.

It's truly gratifying to see how Liszt's sublime influence cascades over the centuries like a beautiful glissando. What made Liszt so fascinating was his relentless quest to experiment with sound, and to release the very heart, soul and existence of human kind via musical notation. A pioneer at every stage of his life, Liszt had no rivals, only jealous detractors or enlightened followers. WEB SEARCHERS SEEK LISZT MORE THAN WAGNER & TCHAIKOVSKY I have posted artwork I created of each of these 3 composers on an art site and at one given moment, Liszt had received a staggering 1206 hits, Tchaikovsky 326, and Wagner a mere 236. Not scientific in the strictest sense, but revealing nonetheless.

• As a young man, Liszt's music could be radical, like Mazeppa; enigmatic, like Chasse-neige; or enchanting, like Harmonies du soir. And, while he did obviously learn from Paganini (virtuosity), Chopin (lyricism) and Berlioz (orchestration), close scrutiny reveals his predisposition towards these elements, as some of his early compositions dating before their acquaintance attest. Such as Ricordanza, which many had labeled Chopinesque, was actually written before he ever met Chopin!
  
  It was Liszt who devised the Piano Recital, and as such, he faced the piano sideways to enhance the audience's visual and acoustic experience. This standard practice today was unheard of before Liszt. Previously, soloists were expected to share the stage with singers and an orchestra. But Liszt's new style of orchestrating on the piano was sufficient enough to conjure up the demons and angels with his Sturm und Drang visions, all without assistance. That, coupled with new advances in piano technology lead to unprecedented performances.
  
  Sometimes the handsome youth would wear gloves and honorary medals, dazzling the audience with visual as well as aural splendor. As such, the frenzied spectacles that occurred at these electrifying events was the true embryo of modern day hysteria at Rock concerts. How novel that modern Rock stars with long hair and ornamental garb play to adoring fans. Little do they know, the true pioneer in stage performance existed well over a hundred years before they were even born.
  
  
• In mid-age, in the year 1848, the world's greatest pianist retired from the concert platform and settled in Weimar as Court Kapellmeister. It was here in this quaint German village that Liszt devised the symphonic poem, which subsequent composers would openly embrace. This gave vent to his revolutionary forms of musical expression, which rocked and cracked the fragile and orderly walls of classical restraint. This is the era of; The Faust and Dante Symphonies and the first 12 of 13 Symphonic poems: Berg Symphony No.1, Tasso No.2, Les Préludes No.3, Orpheus No.4, Prometheus No.5, Mazeppa No.6 , Festklänge No.7, Héroïde funèbre No.8, Hungaria No.9, Hamlet No.10 , Battle of the Huns No.11, Die Ideale No.12, and the 13th symphonic poem From the Cradle to the Grave being written later in 1881. 
  
  It was these innovative works that served as Wagner's home study course for writing the "music of the future." An undertaking which Wagner never wished to acknowledge in public. Hence, Richard stole the crown from the king. The rest is history, how the resourceful Wagner eventually built his huge, and awe-inspiring, empire that eclipsed the sun.
  
  Likewise, a rich stream of piano works, such as the Sonata in B minor, the 6 Consolations, Dante sonata etc., all flowed from Liszt's pen, culminating into some of the most powerful pieces ever written for piano and certainly pinnacles of the mid-Romantic era. It is key to note that, Liszt's musical vision differed from Berlioz, Wagner or the later Strauss in that he chose to express the inner more-profound essence of his subject matter. Rather than merely painting a visual picture of events in sound, which he felt was better left to a painter, he would reveal the dreamy, contemplative and emotional aspects, which music's mysterious language was better equipped to express. In doing so, Liszt's works offer a wider variety of instrumental textures and timbers, while elevating his subject from the particular to the universal. Flowing seamlessly between full scoring and chamber-like sections it was crucial for Liszt that poetic/artistic content dictate form, not vice-versa.
  
  
• And, as an old master composing in semi-seclusion he wrote what is now considered perhaps his most prophetic and mind boggling works ever. It was with pieces like; En Reve-nocturne, Nuages gris, Les Jeux d'Eaux à la Villa d'Este, Bagatelle Sans Tonalite' and Unstern!-Sinistre, that Liszt laid the blueprints for the works of Debussy and Schoenberg who made claim to these new forms a century later. Where in the past it was Liszt's colleagues who benefited from his genius now it was to future generations that The Merlin of Music bequeathed his magic.

It is also curious that Franz Liszt had many parallels to Leonardo DaVinci. The old Italian master was of the highest order in the arena of diverse invention and so too was Liszt. Da Vinci experimented in science and the arts developing new techniques and visions never seen before by man, while Liszt too created soundscapes so unique and bewildering to his contemporaries that even the great Hans Von Bulow could not fathom how to conduct a work like Hamlet. These bizarre configurations seemed unmusical and alien to 19th Century ears, and rightfully so, they were prophetically modern.

Granted both men did experience the pitfalls associated with experimentation, as can be witnessed by the deterioration of DaVinci's Last Supper or the stylistic fluctuations in Liszt's Christus Oratorio.  Yet, both pieces are masterworks of the highest order, as they both broke ground in countless ways and move us with their profound vision. As for their seemingly precarious methodology it's key to remember, only by abandoning the norms and plodding into the deep, dark abyss of the unknown can one engender and reveal the nebulous wonders that lay hidden to lesser beings.

Franz Liszt has always been assured a lofty place in the Pantheon of Composers, yet on that celestial horizon of stars only a select few burn with fervid intensity... Liszt is one of them.

An amazing "must-see" performance by Valentina Lisitsa of Liszt's Totentanz.

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Biography

         

Born on October 22, 1811 in Raiding (then Doborján) Hungary, Franz Liszt was soon recognized to be a child prodigy at the age of six. His father Adam, who played the cello in the local orchestra, taught Franz piano. Employed as a stewart (secretary) by Prince Nicholas Esterházy, Adam asked for extended leave to further his son's musical education.

Adding further to Adam's plea was a letter of request in 1822 by Antonio Salieri, Mozart's old rival, who was astonished upon hearing the young Liszt play at a private house. This prompted Salieri's offer to freely train the child in composition. The Prince finally gave the Liszts' leave to stay in Vienna. Liszt at this time also studied piano under Carl Czerny - Beethoven's esteemed pupil. This, however, only lasted eighteen months.

Tours and many performances generated amazement and praise for the young Liszt by audiences, musicians and Kings. They were especially impressed by Franzi's uncanny ability to improvise an original composition from a melody suggested by the audience. Playing on par with established professionals at age 12, Liszt was fast becoming a sensation.

Eventually traveling to Paris, the young Liszt sought admittance to the Paris Conservatory, but was denied by Luigi Cherubini on the grounds that he was a foreigner, despite the fact that Cherubini himself was Italian. Adam then resorted to Ferdinando Paer to teach Franz composition in 1824. It was during this time that Liszt wrote his first and only opera Don Sanche, later performed in 1825.

More tours and acclaim followed, as Moscheles wrote, "In its power and mastery of every difficulty Liszt's playing surpasses anything previously heard." In 1826 Liszt's father Adam died leaving the 15 year old boy to care for his mother Anna. Depression and disillusion took hold as young Franz earned a living by teaching piano lessons in Paris. Liszt began to lose interest in music and questioned his profession.

Becoming an avid reader, Liszt immersed himself in literature and religion, which was to have a profound influence on his life and work. With the Revolution of 1830, as if awakened by cannon fire, Liszt engaged his art and life once again. This is the period when Liszt's friend Eugene Delacroix paints Liberty Leading the People and he hears Hector Berlioz's Symphonie Fantastique.

By 1832, Liszt is further inspired by hearing Paganini and meeting Chopin. In 1833, Liszt meets Comtesse Marie d'Agoult and the couple eventually elope in 1835 and journey to Switzerland. Here, Liszt composes several impressions of the Swiss country in Album d'un Voyageur, which would later surface as the Années de Pèlerinage - Première Année: Suisse. Upon hearing of Sigismund Thalberg's success in Paris Liszt feels like he is exiled in Switerland and returns for his famous piano duel, to ensure his title as King of the Piano.

Liszt devises the piano recital and begins his world famous solo tours, thus conquering Europe by storm. In Portugal Liszt is described as "God of the piano," and along his journey he performs charity concerts for various causes. By 1844, Lisztomania is in full bloom, while Liszt's stormy relationship with Marie d'Agoult finally ends, after fathering three children and repeated attempts to suppress her manic depressive condition. In 1847, Liszt meets Princess Carolyne Sayn-Wittgenstein in Kiev, and, to the world's dismay, he retires from the concert stage.

In 1848, Liszt settles in Weimar, living in the Altenberg as Court Kapellmeister. Later, Carolyne joins him. The fact that Liszt could have made more money performing reveals Liszt's burning desire to concentrate on a higher mission - the creation of new musical forms via a fertile and liberated mind. This he achieves in his symphonic poems and unique piano scores. Taking on pupils without fee, Liszt cultivates a new breed of pianists, nicknamed the Altenberg Eagles. For the next decade, a whirlwind of radically innovative works flowed from Liszt's pen and into the concert halls, procuring staunch followers and violent adversaries.

In 1858, Liszt resigns his post as Kapellmeister due to the harsh attacks from conservatives against his and his pupils works. By 1860, Joachim and Brahms publish their Manifesto against Liszt and the modern composers in an unsuccessful effort to thwart new forms. As time would tell, their old classic traditions would eventually fade to the progress forged by Liszt and the Romantics as the century unfolded.

In 1860, Liszt and Carolyne attempt to wed in Rome, but on the eve of their marriage the plans are thwarted due to her unsubmitted divorce papers. A great deal of controversy surrounds the Papal rejection, and the couple separate yet remain soul mates for life. In 1865, Liszt takes minor Holy Orders in the Catholic Church. Later, Liszt sets up residence in three cities, Rome, Weimar and Budapest. Establishing the Conservatory of Music in Budapest, Liszt is elected its first president. Amidst a bewildered and condescending group of conservatives, who dismiss most of his works as radical and unmusical, Liszt still manages to score several successes, the St. Elizabeth Oratorio among others.

Liszt's works in later years become stark and reflective in nature, yet even far more extreme and prophetic. Criticism of these bizarre and misunderstood pieces would prompt Liszt to instruct his students not to perform his works in public, as not to hinder their budding careers. While some obeyed their selfless leader, others remained resolute on championing the cause of their brilliant master.

Upon Liszt's visit to Bayreuth to attend a Wagner fest— hosted by his daughter Cosima, and widow of Wagner— he fell gravely ill with pneumonia. His adoring pupils, including Friedheim, Siloti, Stavenhagen and others, all rushed to be by their mentor's side, but were refused admittance to his room by Cosima. The grand master died at 11:30 PM on July 31, 1886. At the organ, playing solemnly at his funeral, was Anton Bruckner.

As time marched on, Liszt was eclipsed by Wagner and the new breed of young composers, unjustly marginalizing and trivializing his numerous contributons to the point of mockery or worse yet oblivion. However, akin to Mozart, who also died under-appreciated and eventually almost forgotten, Liszt likewise rose from the ashes, like a Phoenix. Through the succeeding years, Liszt's genius as a composer would gradually surface, shedding light on many previously unheard masterworks and revealing the prophetic savant he truly was. That Strauss, Debussy, Puccini, Stravinsky, Schoenberg, Sibelius and countless others would reap the benefits of studying his innovative work would become evident in time and indelibly mark Liszt's profound impact on music history. Moreover, that Liszt is studied and recorded by young pianists today more than any other composer lends further evidence that Franz Liszt is finally receiving the due respect and praise he deserves, for he truly has no rivals in the variety and volume of contributions to the field of music.