Works by Franz Liszt. Franz Liszt: biography, interesting facts, creativity The most significant works

Characteristic

The sheet has become greatest pianist XIX century. His era was the heyday of concert pianism, Liszt was at the forefront of this process, with limitless technical possibilities. Until now, his virtuosity remains a reference point for modern pianists, and his works remain the pinnacle of piano virtuosity. In general, active concert activity ended in 1848 ( last concert was given in Elizavetgrad), after which Liszt rarely spoke. As a composer, Liszt made a lot of discoveries in the field of harmony, melody, form and texture. Created new instrumental genres (rhapsody, symphonic poem). Formed the structure of a one-part-cyclic form, which was outlined by Schumann and Chopin, but was not developed so boldly. Liszt actively promoted the idea of ​​a synthesis of arts (Wagner was his adherent in this). He said that time “ pure arts"Ended (this thesis is put forward by the 1850s). If Wagner saw this synthesis in the connection between music and words, then for Liszt it is more connected with painting, architecture, although literature also played an important role. Hence such an abundance of programmatic works: "Betrothal" (based on a painting by Raphael), "The Thinker" (sculpture by Michelangelo) and many others. Subsequently, the ideas of the synthesis of arts have found wide application, up to the present day.

Liszt believed in the power of art, which can influence huge masses of people, fight evil. This is related to his educational activities.

Conducted teaching activities. Pianists from all over Europe came to see him in Weimar. In his house, where the hall was, he gave them open lessons, and never took money for it. Among others, Borodin and Ziloti visited him. Liszt took up conducting activities in Weimar. There he staged operas (including Wagner) and performed symphonies. Among the literary works - a book about Chopin, a book about the music of Hungarian gypsies, as well as many articles on current and global issues.

Biography

Franz Liszt was born on October 22, 1811 in Hungary, in the town of Doboryan (the Austrian name for Raiding), Sopron Komitat (region).

Parents

Franz Liszt's father, Adam Liszt (1776-1826) served with Prince Esterhazy as a "overseer for the sheep population." It was an honorable and responsible position, since the flocks of sheep were the main wealth of the Esterhazy family. The princes encouraged art. Until the age of 14, Adam played the cello in the Prince's orchestra led by Joseph Haydn. After graduating from a Catholic gymnasium in Pressburg (now Bratislava), Adam List entered the Franciscan order as a novice, but decided to leave it two years later. He maintained a lifelong friendship with one of the Franciscans, which, as some researchers suggest, inspired him to name his son Franz, and List himself, also maintaining ties with the Franciscans, in later years life entered the order. Adam Liszt composed, dedicating his works to Esterhazy. In 1805 he achieved his appointment to Eisenstadt, where the princes' residence was located. There, in 1805-1809, in his free time from the main work, he continued to play in the orchestra, having the opportunity to work with many musicians who came there, including Cherubini and Beethoven. In 1809, Adam was sent to Ryding. In his house there was a portrait of Beethoven, who was the idol of his father and later became the idol of his son.

Franz Liszt's mother, nee Anna Lager (1788-1866), was born in Krems (Austria). Orphaned at the age of 9, she was forced to move to Vienna, where she worked as a maid, and at the age of 20 she moved to Mattersburg to live with her brother. In 1810, Adam List, having arrived in Mattersburg to visit his father, met her, and in January 1811 they got married.

In October 1811, a son is born, who becomes their only child. The baptismal name was spelled Franciscus in Latin, and Franz in German. The Hungarian name Ferencz is more often used, although Liszt himself, having little command of Hungarian, never used it.

The father's involvement in the musical formation of his son was exceptional. Adam Liszt started teaching his son music early, giving him lessons himself. In the church, the boy was taught to sing, and the local organist was taught to play the organ. After three years of study, Ferenc, at the age of eight, performed for the first time in a public concert. His father took him to the houses of noble nobles, where the boy played the piano, and managed to evoke a benevolent attitude among them. Realizing that his son needs a serious school, his father takes him to Vienna.

From 1821 Liszt studied piano in Vienna with Karl Czerny, who agreed to teach the boy free of charge. At first, the great teacher did not like the boy, as he was physically weak. Czerny's school gave Liszt the versatility of his piano art. List studied theory with Antonio Salieri. Performing at concerts, Liszt created a sensation among the Viennese public. During one of them, Beethoven, after a brilliant improvisation by Franz in the cadence of one of his concerts, kissed him. Liszt remembered this all his life.

After Vienna, List went to Paris (in 1823). The goal was the Paris Conservatory, but Liszt was not accepted there, since only the French were accepted. However, his father decided to stay in Paris, despite the difficult financial situation. Because of this, I had to constantly organize performances. This is how Liszt's professional career begins at an early age. Teachers from the same Paris Conservatory studied with Liszt (among them were such outstanding musicians as Ferdinando Paer and Antonin Reich), but no one else taught him to play the piano. Cerny was his last piano teacher.

During this period Liszt began to compose - mainly the repertoire for his performances - etudes. At the age of 14, he began the opera Don Sancho, or the Castle of Love, which was even staged at the Grand-Opera (in 1825).

In 1827, Adam List died. Ferenc was very upset by this event, for about 3 years he was in a depressed state. In addition, he was annoyed by his role as a "clown", a curiosity in secular salons. Because of these reasons, Liszt was excluded from the life of Paris for several years, and his obituary was even published. The mystical mood, which was previously seen in Liszt, rises.

List appeared in the light only in 1830. This is the year of the July Revolution. Liszt was carried away by the stormy life around him, calls for justice. The idea of ​​a "Revolutionary Symphony" arises, in which revolutionary songs were to be used. Liszt returned to active work, giving concerts with success. A circle of musicians close to him is outlined: Berlioz (who created the Fantastic Symphony at that time), Paganini (who arrived in Paris in 1831). The playing of the genius violinist prompted Liszt to achieve even greater perfection in his performance. For some time he gave up concerts, worked hard on the technique and transposed Paganini's caprices for the piano, which came out under the title of six etudes. This was the first and extremely brilliant experience in piano arrangement, which Liszt later brought to such a high degree. Chopin also had a tremendous influence on Liszt as a virtuoso (who was skeptical of Liszt, not having time to see the flowering of his work after 1848 and seeing in him only a virtuoso). Among Liszt's acquaintances are the writers Dumas, Hugo, Musset, Georges Sand.

Around 1835, Liszt's articles about social status artists in France, about Schumann, and others. At the same time, Liszt began teaching, which he never left.

In the early 30s. Liszt meets Countess Marie d'Agu, a friend of George Sand. She was addicted contemporary art... The Countess had some literary ability and was published under the pseudonym Henri Style. The work of Georges Sand was a standard for her. Countess D'Agu and Liszt were in a state of romantic love. In 1835 the Countess left her husband and broke all ties with her circle. Together with Liszt, she leaves for Switzerland - this is how the next period of Liszt's life begins.

"Years of Wandering"

From 1835 to 1848 the next period of Liszt's life lasted, which was given the name "Years of Wanderings" (after the title of the collection of plays).

In Switzerland, Liszt and Marie d'Agu lived in Geneva and at times in some picturesque village. Liszt makes the first sketches of pieces for the collection The Traveler's Album, which later became the Years of Wanderings (fr. “Années de pèlerinage”), teaches at the Geneva Conservatory, and sometimes goes to Paris to give concerts. However, Paris is already carried away by another virtuoso - Thalberg, and Liszt does not have its former popularity. At this time, Liszt was already beginning to give his concerts an educational theme - he played symphonies (in his arrangement for piano) and Beethoven's concerts, paraphrases on themes from operas, etc. modern society" (see above). In Geneva, List did not fall out of the active European life... Friends came to him from Paris, including Georges Sand.

In 1837, already having one child, Liszt and d'Agu went to Italy. Here they visit Rome, Naples, Venice, Florence - centers of art and culture. From Italy, Liszt wrote essays on the local musical life which he sent to Paris for publication. The genre of writing was chosen for them. The addressee of most of the letters is Georges Sand, who also answered Liszt with essays in the magazine.

In Italy, Liszt played a recital for the first time in history, without the participation of other musicians. It was a bold and daring decision that finally separated the concert performances from the salon ones.

Fantasies and paraphrases on themes from operas (including Donizetti's Lucia), transcriptions of Beethoven's Pastoral Symphony and many of Berlioz's works date back to this time. After giving several concerts in Paris and Vienna, Liszt returned to Italy (1839), where he finished the transcription of Beethoven's symphonies on the piano.

Liszt had long dreamed of going to Hungary, but his girlfriend Marie d'Agou was against this trip. At the same time, a great flood occurred in Hungary, and List, already enjoying immense popularity and fame, considered it his duty to help his compatriots. Thus, there was a break with d'Agu, and he left for Hungary alone.

Austria and Hungary met Liszt in triumph. In Vienna, after one of the concerts, Thalberg, his longtime rival, approached him, recognizing the superiority of Liszt. In Hungary, List became the spokesman for the nation's patriotic upsurge. Nobles came to his concerts in national costumes, presented him gifts. Liszt transferred the funds from the concerts to the victims of the floods.

Between 1842 and 1848 List several times traveled all over Europe, including Russia, Spain, Portugal, was in Turkey. It was the peak of it concert activities... List was in Russia in 1842 and 1848. In St. Petersburg, Liszt was listened to by outstanding figures of Russian music - Stasov, Serov, Glinka. At the same time, Stasov and Serov recalled their shock from his game, and Glinka did not like Liszt, he put Field higher.

List was interested in Russian music. He highly appreciated the music of Ruslan and Lyudmila, made a piano transcription of Chernomor's March, and corresponded with the composers of The Mighty Handful. In subsequent years, ties with Russia were not interrupted, in particular, Liszt published a collection of selected excerpts from Russian operas.

At the same time, Liszt's educational activity reached its peak. In their concert programs it includes many piano works of classics (Beethoven, Bach), own transcriptions of symphonies by Beethoven and Berlioz, songs by Schubert, organ works Bach. On the initiative of Liszt in 1845, celebrations in honor of Beethoven were organized in Bonn, he also contributed the missing amount for the installation of a monument to the brilliant composer there.

However, after a while Liszt became disillusioned with his educational activities. He realized that she did not achieve the goal, and the layman is more pleased to listen to a medley from a fashionable opera than a Beethoven sonata. Liszt's active concert activity ceases.

At this time, List meets Caroline Wittgenstein, the wife of a Russian general. In 1847 they decided to unite, but Caroline was married and, moreover, devoutly professed Catholicism. Therefore, it was necessary to seek a divorce and a new wedding, which the Russian emperor and the Pope had to authorize.

In 1848 List and Caroline settled in Weimar. This choice was due to the fact that Liszt was given the right to direct the musical life of the city, moreover, Weimar was the residence of the duchess - the sister of Emperor Nicholas I. Apparently, List hoped through her to influence the emperor in the divorce. Liszt took up the opera house, renewed the repertoire. Obviously, after disappointment in concert activity, he decided to shift the educational emphasis to the director's activity. Therefore, operas by Gluck, Mozart, Beethoven, as well as contemporaries - Schumann (Genoveva), Wagner (Lohengrin) and others appear in the repertoire. The symphony programs included works by Bach, Beethoven, Mendelssohn, Berlioz, as well as his own. However, in this area, Liszt was in for a failure. The audience was dissatisfied with the theater's repertoire, the troupe and musicians complained.

The main result of the Weimar period is Liszt's intense composing work. He tidies up his sketches, completes and revises many of his writings. "Traveler's Album" after great work became the "Years of Wanderings". Piano concerts, rhapsodies (in which melodies recorded in Hungary are used), Sonata in B minor, etudes, romances, and the first symphonic poems also appear here.
Young musicians from all over the world come to Weimar to learn from Liszt.

Together with Caroline Liszt writes articles and essays. Begins a book about Chopin. By this time, Liszt's rapprochement with Wagner on the basis of common ideas belongs. In the early 50s. the Union of German musicians, the so-called "Weimarians", was created, in contrast to the "Leipzigers" (to which Schumann, Mendelssohn, Brahms belonged, who professed more academic views than Wagner and Liszt). Fierce conflicts arose between these groups in the press.

At the end of the 50s, the hope for a wedding with Carolina finally dwindles, in addition, List was disappointed by the lack of understanding of his musical activities in Weimar. At the same time, Liszt's son dies. Again, as after the death of his father, mystical and religious feelings intensify in Liszt. Together with Caroline, they decide to go to Rome to atone for their sins.

Later years

In the early 60s, List and Carolina moved to Rome, but lived in different houses. She insisted that Liszt become a monk, and in 1865 he received the minor tonsure and the title of abbot. Liszt's creative interests now lie mainly in the field church music: These are the oratorios "St. Elizabeth", "Christ", four psalms, a requiem and the Hungarian coronation mass (German: Kronungsmesse). In addition, the third volume of "Years of Wanderings" appears, saturated with philosophical motives. In Rome, Liszt played, but extremely rarely.

In 1866 Liszt travels to Weimar, the so-called Second Weimar Period begins. He lived in the modest house of his former gardener. As before, young musicians come to him - among them Grieg, Borodin, Ziloti.

In 1875, List's activities were concentrated mainly in Hungary (in Pest), where he was elected president of the newly founded High school music. Liszt teaches, writes "Forgotten Waltzes" and new rhapsodies for piano, the cycle "Hungarian Historical Portraits" (about the figures of the Hungarian liberation movement).

Liszt's daughter Cosim at this time became the wife of Wagner (their son is the famous conductor Siegfried Wagner). After Wagner's death, she continued to organize the Wagnerian festivals in Bayreuth. At one of the festivals in 1886, Liszt caught a cold, and soon the cold turned into pneumonia. His health began to deteriorate, his heart worried. Due to swelling of the legs, he moved only with assistance.

Interesting Facts

* In 1842 Ferenc Liszt was expelled from St. Petersburg at 24 hours. In addition, the chief of police gave him the highest will: List should never again come to the capital of Russia.

The Emperor listened to the concert in silence. However, immediately after Liszt's speech, the chief of police was waiting.

* Liszt performed his new work at the Bayreuth Music Society. It was extremely complex composition written at a fast pace. Liszt played it with his usual virtuosity and finished the game to enthusiastic applause. The flattered Liszt bowed politely to the audience and proudly said:

- Only two pianists in Europe can perform this piece like that - me and Hans von Bülow!
Then the young Georges Bizet, who was present at this evening, went up to the piano, sat down and, with no less virtuosity, performed the piece he had just heard without notes, from memory.
- Bravo! - exclaimed the embarrassed Leaf. - But, my young friend, you should not strain your memory so much, here are the notes.

For the second time, Bizet played the work of the maestro perfectly, now from the scores.

“Congratulations,” Liszt held out his hand. - Now you are the third in Europe!

Artworks

All works by Liszt are 647: of which 63 are for orchestra, about 300 arrangements for piano. In everything that Liszt wrote, one can see originality, a desire for new paths, a wealth of imagination, courage and novelty of techniques, a kind of look at art. His instrumental compositions represent a remarkable step forward in musical architectonics. 14 symphonic poems, symphonies "Faust" and "Divina comedia", piano concerts present the richest new material for the researcher musical form... From Liszt's musical and literary works, brochures about Chopin (translated into Russian by P. A. Zinoviev, in 1887), about "Benvenuto Cellini" by Berlioz, Schubert, articles in "Neue Zeitschrift für Musik" and a large work on Hungarian music ("Des Bohémiens et de leur musique en Hongrie").

In addition, Franz Liszt is known for his Hungarian Rhapsodies (time of creation 1851-1886), which are among the most striking and original of his works of art... Liszt used folklore sources (mainly gypsy motives) that formed the basis of Hungarian rhapsodies. It should be noted, however, that the genre of instrumental rhapsody is Liszt's invention. Rhapsodies were created in the following years: № 1 - about 1851, № 2 - 1847, № 3-15 - about 1853, № 16 - 1882, № 17-19 - 1885.

He is rightfully considered a paramount figure in the history of world music. As a composer and author of transcriptions, he has created over 1,300 works. In his composing career Franz Liszt gave the palm to the solo piano. Probably Liszt's most popular work is (Liebestraum), and among the grandiose list of his other works for piano, 19 Hungarian Rhapsodies, a cycle of 12 Transcendental Etudes (Etudes for Transcendental Performance - tudes d'excution transcendante) and three cycles of small pieces entitled ( Annes de plerinage). Liszt also owns more than 60 songs and romances for voice and piano and several organ works.

The creative activity of the composer was surprisingly multifaceted. Franz Liszt was a bold innovator, he brought new ideas, new expressive means to music. Making extensive use of programming as a genre, he constantly turned to folk art as the lifeblood of art. He always strove to learn the character of the people's life, the way of life of his homeland, its musical wealth. Innovation Liszt in the field of musical form and harmony, thanks to which the piano and Symphony Orchestra sounded in a new way, was supported by the leading composers of his time. Having absorbed the culture of Germany and France, Italy and Russia, Sheet, remaining a classic of Hungarian music, made a great contribution to the formation and development of musical culture Europe.

We represent just a few of the most famous works composer.

The renowned composer and pianist Franz Liszt is rightfully called the musical genius, the greatest artist-musician of the Hungarian people. His progressive creative activity fully reflected the thoughts and aspirations of the Hungarians defending national independence in the struggle against the Austrian Habsburgs.

Addressing various musical genres, this talented composer preferred piano, symphonic, choral (oratorios, masses, small choral compositions) and vocal (songs, romances) music. In many of his creations, he tried to embody living images of folk life and everyday life.

Franz Liszt

Franz Liszt was born on October 22, 1811 in the town of Doboryan, Sopron region, one of the estates of the famous Hungarian magnates - the princes of Esterhazy. Adam Liszt, the father of the famous composer, was the caretaker of the prince's sheepfold, and the boy helped him from childhood. So in the atmosphere of rural life and nature, Franz Liszt spent his childhood.

Hungarian folk and gypsy songs and dances became the first musical impressions of the future composer, which had a huge impact on the development of his genius talent and left an imprint on all subsequent work.

Ferenc became interested in music early on. Probably, his love for this art form was passed on to him from his father, a passionate admirer of musical creativity. Piano lessons under the guidance of Adam Liszt were the first step on Ferenc's path to a career as a musician. Soon, many started talking about the boy's success as a pianist, and his public appearances began.

In 1820, the nine-year-old Liszt gave concerts in several cities of Hungary, after which he moved with his father to Vienna to continue his musical education... His teachers were Karl Cerny (piano playing) and the Italian composer Antonio Salieri (music theory).

In Vienna, Liszt met the great Beethoven. The boy's father barely managed to convince the deaf composer to attend his son's concert and give him a theme for improvisation. Observing the expression on the face and the movements of the fingers of the young pianist, Beethoven was able to appreciate the musical genius of the twelve-year-old Liszt and even in recognition awarded the boy with a kiss, which Ferencz remembered as one of the happiest moments of his life.

In 1823, having given a concert in Budapest, the boy, accompanied by his father, went to Paris to enter the conservatory. However, the director of this educational institution, famous composer and musical figure Cherubini, did not accept Liszt, referring to the instruction to accept only Frenchmen into the Paris Conservatory. Cherubini's refusal did not break the little Hungarian - he began to study music theory with the conductor of the Italian opera in Paris F. Paer and the conservative professor A. Reich.

By this period creative activity includes the writing of the first major musical and dramatic work - the opera Don Sancho, or the Castle of Love, staged in 1825 at the Grand Opera.

Having lost his father in 1827, List was left on his own. In this environment, the artistic and ethical convictions of the young composer were gradually formed, which were greatly influenced by the revolutionary events of 1830. The response to what was happening was the Revolutionary Symphony, from which only a revised symphonic poem "Lament for a Hero" remained in the future.

The uprising of the Lyons weavers in 1834 inspired Liszt to write the heroic piano piece "Lyon", which became the first in the cycle of plays "The Traveler's Album". At that time, the ideas of social protest and the growing opposition to the ruling regime calmly coexisted in the minds of the young composer with religious and preaching aspirations.

An important role in Liszt's life was played by his meeting with outstanding musicians of the 19th century - Niccolo Paganini, Hector Berlioz and Frederic Chopin. The virtuoso playing of the genius violinist Paganini made Liszt again turn to daily musical exercises.

Having set himself the goal of achieving a mastery in piano playing equal to that of the famous Italian, Ferenc did his best to realize it. Liszt's transcriptions of works by Paganini (The Hunt and Campanella) excited the audience as much as the masterful playing of the famous violinist.

In 1833, the young composer created a piano transcription of Berlioz's Fantastic Symphony, three years later the same fate was awarded to the symphony "Harold in Italy". In Chopin, Liszt was attracted by the ability to understand and appreciate national traditions in music. Both composers were singers of their homeland: Chopin - Poland, Liszt - Hungary.

In the 1830s, the talented composer successfully performed both on the big concert stage and in art salons, where Liszt got acquainted with such outstanding personalities, as V. Hugo, J. Sand, O. de Balzac, A. Dumas, G. Heine, E. Delacroix, G. Rossini, V. Bellini and others.

In 1834, Ferenc's life happened significant event: he met Countess Maria d'Agu, who later became his wife and writer, known under the pseudonym Daniel Stern.

In 1835, the Liszt couple set off on a journey across Switzerland and Italy, the result of which was the writing of piano works called "The Traveler's Album".

The first part of this work ("Impressions and Poetic Experiences") contains seven plays: "Lyon", "On Lake Wallenstadt", "At the Spring", "Bells of Geneva", "Obermann Valley", "William Tell Chapel" and "Psalm ”, Which were reworked a few years later. At the end of the 1840s, some plays from the second part ("Pastoral", "Thunderstorm", etc.) were included here, so it turned out that "The First Year of Wanderings" filled with deep psychologism and lyricism.

The second part of the "Traveler's Album" was called "Flowers of Alpine Melodies", and the third - "Paraphrases" (this includes the processed melodies of songs by the Swiss composer FF Huber).

While living in Geneva, the talented composer not only performed in concerts, but also engaged in teaching activities, leading classes at the conservatory. Several times he traveled to Paris, where his appearance was greeted with shouts of enthusiastic admirers. A great public outcry in 1837 was caused by the competition between Franz Liszt and the representative of the academic direction in pianism Sigismund Thalberg.

In the same year, the composer and his wife went to Italy. Impressed by the monuments of the Italian Renaissance, The Second Year of Wanderings was written, which included the plays The Betrothal, The Thinker, three Sonnets of Petrarch, written in the form of romances on the texts of the famous poet, as well as other works depicting the life of the Italian people ...

For example, in the cycle "Venice and Naples" Liszt used the melodies of the Italian folk songs... The basis for writing "Gondoliers" was the Venetian barcarole, "Canzona" is a piano transcription of the gondolier's song from Rossinia's "Othello", and the tarantella contains authentic Neapolitan melodies that create a vivid picture of festive fun.

The composing activity was accompanied by concert performances, among which two deserve special attention: in Vienna in 1838, the collection from which was sent to Hungary to help victims of the floods, and concerts in 1839, given by Liszt to replenish funds for the installation of the Beethoven monument in Bonn.

The period from 1839 to 1847 was the time of the triumphal procession of Franz Liszt through the cities of Europe. This brilliant composer, who gave recitals in England, Czech Republic, Russia, Denmark, Spain and many other countries, became the most fashionable and popular. His name sounded everywhere, bringing not only glory, but also wealth and honor, and every visit of Liszt to his homeland turned into a national holiday.

The talented musician's repertoire was quite varied. Liszt performed in concerts opera overtures in his own transcriptions, paraphrases and fantasies on themes from various operas (Don Giovanni, The Marriage of Figaro, Huguenots, Puritans, etc.), Beethoven's Fifth, Sixth and Seventh Symphonies, A fantastic symphony "by Berlioz, songs by eminent composers, Paganini's caprices, works by Bach, Handel, Chopin, Schubert, Mendelssohn, Weber, Schumann and numerous works of his own (Hungarian rhapsodies," Petrarch's Sonnets ", etc.).

A characteristic feature of Liszt's playing was the ability to create colorful musical pictures filled with sublime poetry and make an indelible impression on the audience.

In April 1842 the renowned musician visited St. Petersburg. A year later, his concerts took place in St. Petersburg and Moscow, and in 1847 - in Ukraine (in Odessa and Kiev), in Moldova and Turkey (Constantinople). The period of Liszt's long-term wanderings ended in the Ukrainian city of Elizavetgrad (now Kirovograd).

In 1848, joining his life with the daughter of a Polish landowner Karolina Wittgenstein (he parted with Countess d'Agu in 1839), Ferenc moved to Weimar, where a new period in his creative life began.

Having abandoned the career of a virtuoso pianist, he turned to composing and literary criticism. In his articles "Travel Letters of a Bachelor of Music" and others, he critically approaches the assessment state of the art art, serving at the top of the bourgeois-aristocratic society.

The works dedicated to various composers are major studies in which, in addition to analyzing the work of outstanding masters, the problem of programmatic music is posed, a supporter of which Liszt was throughout his life.

The Weimar period, which lasted until 1861, was marked by the writing a large number various works, which reflect the composer's worldview. Liszt's piano and symphonic works deserve special attention. The early works of the composer were thoroughly revised, as a result of which they became more perfect and in to a greater extent corresponded to the artistic and poetic concept.

In 1849, the composer completed his earlier works - piano concertos in E flat major and A major, as well as Dance of Death for piano and orchestra, which is a colorful and varied variation on the popular medieval theme"Dies irae".

Six small lyrical pieces, united under the name Consolation, three nocturnes, which are piano transcriptions of Liszt's romances, and the striking tragic expressiveness of the Funeral Procession, written for the death of the Hungarian revolutionary Lajos Batyan, date back to this time.

In 1853, Franz Liszt created one of his best works - the Piano Sonata in B minor, a one-part compositional work that incorporated parts of a cyclic sonata and became a new type of one-part piano sonata-poem.

The best symphonic works were written by Liszt during the Weimar period of his life. The symphonic poems "What is heard on the mountain" (here is embodied the romantic idea of ​​opposing the majestic nature to human sorrows and suffering), "Tasso" (in this work the composer used the song of the Venetian gondoliers), "Preludes" (in it the joys of earthly life ), "Prometheus", etc.

In the symphonic poem "Orpheus", conceived as an overture to the opera of the same name by Gluck, the mythical legend about the sweet-voiced singer was embodied in a generalized philosophical plan. Orpheus for Liszt becomes a kind of generalized image, a collective symbol of art.

Among Liszt's other symphonic poems, one should note Mazepa (after V. Hugo), Festive Bells, Lament for a Hero, Hungary (a national heroic epic, a kind of Hungarian rhapsody for orchestra, written by the composer in response to the poem by the Hungarian poet Vereshmarty), Hamlet (musical introduction to Shakespeare's tragedy), Battle of the Huns (inspired by a fresco by a German artist), Ideals (based on a poem by Schiller).

In addition to symphonic poems, during the Weimar period, two program symphonies were created - the three-part "Faust" (in the finale of the third movement, male choir) and a two-part work based on Dante's Divine Comedy (with a final female chorus).

The most popular works of Liszt in the repertoire of pianists are two episodes - "Night Procession" and "Mephisto Waltz", which exists both in piano and orchestral arrangements, from "Faust" by the famous Austrian poet N. Lenau. Thus, the Weimar period turned out to be the most productive in the work of Franz Liszt.

However, his life was not limited only to composing. Having received an invitation to take the place of the Weimar conductor opera house, the renowned musician enthusiastically embarked on the realization of his long-standing artistic ideas.

Despite all the difficulties, Liszt managed to stage such complex operas as "Orpheus", "Iphigenia in Aulis", "Alceste" and "Armida" by Gluck, "Huguenots" by Meyerbeer, "Fidelio" by Beethoven, "Don Juan" and "The Magic flute "by Mozart," Wilhelm Tell "and" Othello "by Rossini," The Magic Shooter "and" Evritana "by Weber," Tannhäuser "," Lohengrin "and" Flying Dutchman»Wagner et al.

In addition, the famous Hungarian promoted on the stage of the Weimar theater works that did not receive wide recognition (Benvenuto Cellini by Berlioz, Alphonse and Estrella by Schubert, etc.). In 1858, tired of the constant obstacles posed by the management of the theater, Liszt resigned.

His work as a conductor of symphonic concert performances was no less significant. Along with the works of recognized luminaries of music (Haydn, Mozart, Beethoven), the orchestras led by Liszt performed works by Berlioz, excerpts from Wagner's operas, as well as symphonic poems by Ferenc himself. The talented conductor was invited to various celebrations, and in 1856 he even conducted in Vienna on the occasion of the centenary of Mozart's birth.

Liszt paid much attention to the education of young musicians who, having adopted the ideas of their teacher, joined the struggle for a new art, for program music, against routine and conservatism. Progressive-minded musicians have always found a warm welcome in the Weimar house of Franz Liszt: B. Smetana, I. Brahms, A.N.Serov, A.G. Rubinstein and others have been here.

At the end of 1861, the Liszt family moved to Rome, where four years later the renowned composer was ordained abbot and wrote several spiritual works - the oratorios Saint Elizabeth (1862), Christ (1866), Hungarian Coronation Mass (1867).

The first of these works, along with religious mysticism, traces the features of genuine drama, theatricality and Hungarian songwriting. "Christ" is a work imbued with clericalism and religious mysticism.

The writing of a number of secular musical works: two piano etudes ("Noise of the Forest" and "Procession of the Dwarfs"), "Spanish Rhapsody", numerous transcriptions of works by Beethoven, Verdi and Wagner.

Despite the abbey's cassock, List remained a secular man. Showing interest in everything new and bright in musical life, Ferenc could not fully devote himself to serving the church. Despite the protests of his wife, an ardent Catholic, List returned to Weimar in 1869. This is how the last period of his creative activity began.

The brilliant composer traveled a lot to cities and countries, repeatedly visited Vienna, Paris, Rome and Budapest, where he became the first president and teacher of the National Academy of Music, which opened with his support. Liszt continued to provide all kinds of support to young musicians. There were always many students around him who aspired to become virtuoso pianists. In addition, he continued to closely monitor new music and the emergence of new national schools, remaining the soul of all musical events.

Having long abandoned public appearances, Liszt eagerly played in small home concerts. However, towards his old age, his manner of playing piano has changed significantly: not wanting to amaze the audience with virtuoso brilliance and external effects, he paid more attention to understanding real art, surprising the audience with the clarity and richness of shades of a particular melody.

Franz Liszt was perhaps the first to appreciate the originality and innovation of the Russian classical music... Among the transcriptions by this composer there are also arrangements of Russian musical works: Chernomor's March from "Ruslan and Lyudmila" by Glinka, "Tarantella" by Dargomyzhsky, "Nightingale" by Alyabyev, as well as transcriptions of some Russian and Ukrainian folk songs.

V last years Liszt paid little attention to his life as a composer. Among the most significant works of the 1870s - 1880s, the Third Year of Wanderings should be noted, which reflects Liszt's impressions of his stay in Rome.

In the plays Cypresses of Villa d'Este, Fountains of Villa d'Este, Angelus and Sursum codra, a great emphasis is placed on religious contemplation, the works become static and reveal features of musical impressionism. Three "Forgotten Waltzes" (1881 - 1883), the second and third "Mephisto Waltzes" (1880 - 1883), "Mephisto Polka" (1883), as well as the last Hungarian Rhapsodies (No. 16 - 19) belong to the same time. , bright, live music of which, associated with everyday dance genres, resembles more early writings composer.

Having retained his soulful youth and inexhaustible creative energy, Liszt resumed concert performances in the last years of his life. In July 1886, his last concert took place in Luxembourg.

Feeling unwell could not affect the renowned genius's keen interest in everything new in music, and he went to Bayreuth to appreciate the production of Wagner's operas Parsifal and Tristan and Isolde. On the way, Franz Liszt fell ill with pneumonia, the efforts of the doctors were unsuccessful, and on July 31, 1886, the most talented son of the Hungarian people died.

Liszt's musical heritage is enormous - it numbers over one thousand two hundred works, of which about half (six hundred forty-nine) are original, the rest are arrangements and transcriptions of works by other authors. Liszt dedicated more than five hundred works to his favorite instrument, the piano. His literary legacy is also significant (it was published in the early 1880s in six volumes).

Piano works

Oratorios and masses

"The Legend of St. Elizabeth" (1857-1862)
"Christ" (1862-1866)
Grand Mass (1855)
Hungarian coronation mass (1866-1867)

Songs and Romances (about 90)

Literary works

Bachelor of Music Letters (1837-1839)
“Paganini. About his death "(1840)
Chopin (1851, new edition - 1879)
Tannhäuser (1849)
Lohengrin (1850)
"Letter of Conducting" (1853)
The Flying Dutchman (1854)
"On" Orpheus "Gluck" (1854)
"About" Fidelio "Beethoven" (1854)
"On" Euryante "Weber" (1854)
The Rhine Gold (1855)
"Berlioz and his symphony" Harold "" (1855)
Robert Schumann (1855)
Clara Schumann (1855)
"Mozart. On the centenary of his birth "(1856)
“Criticism of Criticism. Ulybyshev and Serov "(1857)
John Field and His Nocturnes (1859)
"On the Gypsies and Their Music in Hungary" (1860, new edition - 1881)