very important four years in the priest’s life

Stanislaw Barszczak, A simple waltz or Franz Liszt’s compartment

Persons:
Anna Liszt, a mother
Adam Liszt, a father
Franz Liszt, virtuoso pianist
Antonio Salieri, the music director of the Viennese court,
the Abbé de Lamennais
Caroline de Saint-Cricq
Countess Marie d’Agoult
Carolyne zu Sayn-Wittgenstein
Lola Montez
Ludwig van Beethoven
Frédéric Chopin,
Richard Wagner,
Hector Berlioz,
Robert Schumann
Victor Hugo,
Heinrich Heine and others

Introduction

It should be an overture to the 21st century or at least a panorama of the epoch. From my travel to Geneva, journey to the world of people, and through Switzerland to Frankfurt, it should have set up a traveler’s album. But the faith did not win yet. We have closed windows, we also close doors sometimes.Do not count good manners. We are with the culture on the side. As if we were for the future only. As if would we live in 2223. In a catastrophic democracy we live. We have a dangerous development. Pope Francis is without character. However, I’m still eating organic food. At this point I would say, I should go, you make me sick (sic!). Though I watch using helikopter volcanoes on Kamchatka. I’m a writer and, therefore, automatically a suspicious character, but believe me. I also but occasionally watch in the circus for shows on the lines… acrobatic figures, brilliant work. As a result of social studies of the epoch, you have this story. And only the story of the great virtuosity of the piano could have been written, might born here. Although people live among us. Extraordinary people. Acrobatic so far so good. Perfection performing, good presentation, courage. My message for you – you have to dream too… Franz Liszt, the hero of this story, has spent his whole life dreaming. And he succeeded in a hundred percent. Mournful and yet grand is the destiny of the artist, I do not think so. Liszt was not sophisticated or complex.The investigation into his case has been repeated afresh, the process is being pursued, is going on. Listen to this story for your benefit and your children. Let also your dreams come true, I wish you well. Franz Liszt is very well known Hungarian priest from the nineteenth century. Few know that he was also a composer. Ferenc Liszt (1811-1886) was a prolific 19th-century Hungarian composer, virtuoso pianist, conductor, music teacher, arranger, organist, philanthropist, author, nationalist and a Franciscan tertiary. Liszt gained renown in Europe during the early nineteenth century for his prodigious virtuosic skill as a pianist. He was a friend, musical promoter and benefactor to many composers of his time, including Frédéric Chopin, Richard Wagner, Hector Berlioz, Robert Schumann, Camille Saint-Saëns, Edvard Grieg, Ole Bull, Joachim Raff, Mikhail Glinka, and Alexander Borodin. As a composer, Liszt was one of the most prominent representatives of the New German School. He left behind an extensive and diverse body of work in which he influenced his forward-looking contemporaries and anticipated many 20th-century ideas and trends. Some of his most notable musical contributions were the invention of the symphonic poem, developing the concept of thematic transformation as part of his experiments in musical form, and making radical departures in harmony.

I The lovely village of Raiding

Franz Liszt was born to Anna Liszt (née Maria Anna Lager) and Adam Liszt on October 22, 1811, in the village of Doborján (German: Raiding) in Sopron County, in the Kingdom of Hungary, Austrian Empire. Liszt’s father played the piano, violin, cello and guitar. He had been in the service of Prince Nikolaus II Esterházy and knew Haydn, Hummel and Beethoven personally. At age six, Franz began listening attentively to his father’s piano playing. Franz was “pale and sickly”, but despite this, he practiced for hours on the piano, and was soon recognized as a wonderful child. Liszt liked national Hungarian and Gypsy music. Adam contrabassist began teaching a son the piano at age seven, and Franz began composing in an elementary manner when he was eight. At the age of 9, his first concert took place, Chopin found himself at this concert. He appeared in concerts at Sopron and Pressburg (Hungarian: Pozsony, present-day Bratislava, Slovakia) in October and November 1820. The boy strives to live because he does not know another life. Liszt had imagination. In one room the actors of the world gathered, and they are always different. Then the role of detail is enormous and important for the whole life. After the concerts, a group of wealthy sponsors offered to finance Franz’s musical education in Vienna. There Liszt received piano lessons from Carl Czerny, who in his own youth had been a student of Beethoven and Hummel. He also received lessons in composition from Ferdinando Paer and Antonio Salieri, who was then the music director of the Viennese court. Liszt’s public debut in Vienna on December 1, 1822, at a concert at the “Landständischer Saal”, was a great success. He was greeted in Austrian and Hungarian aristocratic circles and also met Beethoven and Schubert. In spring 1823, when his one-year leave of absence came to an end, Adam Liszt asked Prince Esterházy in vain for two more years. Adam Liszt therefore took his leave of the Prince’s services. Towards the end of 1823 or early 1824, Liszt’s first composition to be published, his Variation on a Waltz by Diabelli. This anthology, commissioned by Anton Diabelli, includes 50 variations on his waltz by 50 different composers. “An 11 year old boy, born in Hungary” was almost certainly at the instigation of Czerny, his teacher and also a participant. Liszt was the only child composer in the anthology. The young virtuoso, however, exceeded his career-15-year-old Liszt survived a nervous breakdown. He was taken to Boulogne, where he was to take hot baths to calm himself – it was then 1826, and his father, at the age of 51, died of typhoid fever. The critics have opined: “Perhaps [Liszt] was not the most transcendent virtuoso who ever lived, but his audiences thought he was.” Performing style by Liszt. There are few, if any, good sources that give an impression of how Liszt really sounded from the 1820s. Carl Czerny claimed Liszt was a natural who played according to feeling, and reviews of his concerts especially praise the brilliance, strength and precision in his playing. At least one also mentions his ability to keep absolute tempo, which may be due to his father’s insistence that he practice with a metronome. His repertoire at this time consisted primarily of pieces in the style of the brilliant Viennese school, such as concertos by Hummel and works by his former teacher Czerny, and his concerts often included a chance for the boy to display his prowess in improvisation. Liszt possessed notable sight-reading skills.
I am looking at the picture on the wall, Franz Liszt Fantasizing at the Piano (1840), by Danhauser, commissioned by Conrad Graf. The imagined gathering shows seated Alfred de Musset or Alexandre Dumas, George Sand, Franz Liszt, Marie d’Agoult; standing Hector Berlioz or Victor Hugo, Niccolò Paganini, Gioachino Rossini; a bust of Beethoven on the grand piano (a “Graf”), a portrait of Lord Byron on the wall, a statue of Joan of Arc on the far left. I thought aloud. Following the death of Liszt’s father in 1827 and his hiatus from the life as a touring virtuoso, it is likely Liszt’s playing gradually developed a more personal style.
M. Liszt’s playing contains abandonment, a liberated feeling, but even when it becomes impetuous and energetic in his fortissimo, it is still without harshness and dryness. He draws from the piano tones that are purer, mellower and stronger than anyone has been able to do; his touch has an indescribable charm. He is the enemy of affected, stilted, contorted expressions. Most of all, he wants truth in musical sentiment, and so he makes a psychological study of his emotions to convey them as they are. Thus, a strong expression is often followed by a sense of fatigue and dejection, a kind of coldness, because this is the way nature works, a mother of one of Liszt’s pupils in Paris said.

II Adolescence in Paris (1827-1835)

You know, as far as he was concerned, he became interested in piano music and went on to study music. He learned to play by the most eminent composer of all time Antoni Salieri. Then he was not admitted to the conservatory in Paris. No one was able to get acquainted with his genius, even his father, and Liszt was forced to spoil one of his best pieces, transforming him into a boring Piano Concerto No. 1 in E flat major. Only after such an operation did the artistic community finally recognize him. So, after his father’s death in 1827, Liszt moved to Paris; for the next five years he was to live with his mother in a small apartment. He gave up touring. To earn money, Liszt gave lessons in piano playing and composition, often from early morning until late at night. His students were scattered across the city and he often had to cover long distances. Because of this, he kept uncertain hours and also took up smoking and drinking- all habits he would continue throughout his life. The following year he fell in love with one of his pupils, Caroline de Saint-Cricq, the daughter of Charles X’s minister of commerce, Pierre de Saint-Cricq. Caroline De Saint-Cricq has been in a relationship with Franz Liszt in 1828. If there was any shyness left in him from his days of teaching Countess Caroline de Saint- Cricq it was well disguised. Her father, however, insisted that the affair be broken off. Liszt fell very ill, to the extent that an obituary notice was printed in a Paris newspaper, and he underwent a long period of religious doubts and pessimism. He again stated a wish to join the Church but was dissuaded this time by his mother. He had many discussions with the Abbé de Lamennais, who acted as his spiritual father, and also with Chrétien Urhan, a German-born violinist who introduced him to the Saint-Simonists. Urhan also wrote music that was anti-classical and highly subjective, with titles such as Elle et moi, La Salvation angélique and Les Regrets, and may have whetted the young Liszt’s taste for musical romanticism. Equally important for Liszt was Urhan’s earnest championship of Schubert, which may have stimulated his own lifelong devotion to that composer’s music. During this period, Liszt read widely to overcome his lack of a general education, and he soon came into contact with many of the leading authors and artists of his day, including Victor Hugo, Alphonse de Lamartine and Heinrich Heine. He composed practically nothing in these years. Nevertheless, the July Revolution of 1830 inspired him to sketch a Revolutionary Symphony based on the events of the “three glorious days,” and he took a greater interest in events surrounding him. He met Hector Berlioz on December 4, 1830, the day before the premiere of the Symphonie fantastique. Berlioz’s music made a strong impression on Liszt, especially later when he was writing for orchestra. He also inherited from Berlioz the diabolic quality of many of his works. The July Revolution in France in 1830 inspired to present a little-known work, “The Revolutionary Symphony”. He believed that “while scientists can only point to the means leading to the goal, artists are committed to proclaiming the ideals to which society should strive”. In 1831 Liszt met Paganini, and was fascinated by his violin playing, he decided to become “Paganini of the piano.” After attending an April 20, 1832, charity concert, for the victims of a Parisian cholera epidemic, organised by Niccolò Paganini, Liszt became determined to become as great a virtuoso on the piano as Paganini was on the violin. Paris in the 1830s had become the nexus for pianistic activities, with dozens of pianists dedicated to perfection at the keyboard. This generation solved some of the most intractable problems of piano technique, raising the general level of performance to previously unimagined heights. Liszt’s strength and ability to stand out in this company was in mastering all the aspects of piano technique cultivated singly and assiduously by his rivals. In 1833 he made transcriptions of several works by Berlioz, including the Symphonie fantastique. His chief motive in doing so, especially with the Symphonie, was to help the poverty-stricken Berlioz, whose symphony remained unknown and unpublished. Liszt bore the expense of publishing the transcription himself and played it many times to help popularise the original score. He was also forming a friendship with a third composer who influenced him, Frédéric Chopin; under his influence Liszt’s poetic and romantic side began to develop. Liszt’s own point of view regarding programme music can for the time of his youth be taken from the preface of the Album d’un voyageur (1837). According to this, a landscape could evoke a certain kind of mood. Since a piece of music could also evoke a mood, a mysterious resemblance with the landscape could be imagined. In this sense the music would not paint the landscape, but it would match the landscape in a third category, the mood. (to be continued)

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