Great Masters: Liszt - His Life and Music (Audiobook) | Date: 12 April 2011, 14:04
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Musically, Franz Liszt (1811–1886) is one of the most written about but least understood composers of the 19th century. As for his life—Felix Mendelssohn observed that Liszt's character was "a continual alternation between scandal and apotheosis."
"Scandal and apotheosis"? What could that possibly mean? Join music professor Robert Greenberg for these lectures, and go on a fascinating journey in search of the truth about both. "Franz Liszt, Both Sides Now," you might call it.
[b]Lisztomania! or A Portrait of the Artist as Hero[/b]
More than anyone before him—more than Beethoven, Byron, even the preternatural Paganini—it was Liszt who created one of the most enduring archetypes of the Romantic era: that of the artist "who walks with God and brings down fire from heaven in order to kindle the hearts of humankind."
After experiencing Professor Greenberg's lectures, you will know—really know—what "Lisztomania" is all about. That word is not just the title of a quirky 1975 Ken Russell movie, but a term invented by Liszt's contemporaries.
You'll learn why it made sense to so many at the time, and why it drove others, Brahms and his friend Clara Schumann among them, up the proverbial wall.
Liszt was without a doubt the greatest pianist of his time. He may well be the greatest of all time. Traveling arduously all over Europe on mail coaches, playing whatever instrument was available in whatever hall he could find, he stunned even the most jaded critics and listeners everywhere he went with his sheer virtuosity and almost unbelievable musical gifts.
[b]Two Sides of a Virtuoso[/b]
Liszt was an innovative composer both for his own instrument and on an orchestral scale, a visionary about the future of art, a big-hearted developer of young talent who frequently taught for no pay, and a sincere lover of gypsy freedom as well as Franciscan faith and charity.
Liszt also had many sides to his personal life. He was a lover of adulation and women, sleeping with everyone from countesses and princesses to wild-eyed young groupies; a well-meaning but absent and rather indifferent father to three out-of-wedlock children; and a Hungarian patriot who spent most of his time in Paris, Germany, and Rome.
Additionally, Liszt was a self-conscious artiste, damaging his own reputation by insisting on publishing just about every piece of music that came from his pen and a proud meritocrat from peasant stock who nonetheless had a weakness for what struck some observers as pseudo-aristocratic posturing.
[b]The Gypsy Franciscan[/b]
On stage—he was the first pianist ever to play a solo concert—he was a shameless showoff. But he had the talent to display, and this attention-loving side of Liszt was inseparable from his apotheosis as a veritable deity of the keyboard who could sight-read even the most difficult and illegible score with the pages turned upside down—all the while playing the piece flawlessly and commenting on it as he played!
As Professor Greenberg observes, Liszt would hardly have reached "legend" status if his chosen instrument had been the oboe.
As Liszt himself said of his zest for living, "In life one must decide whether to conjugate the verb to have or the verb to be."
For all his reputation (much of it very well earned) as a lady-killer, a high-society bon vivant, and something of a 19th-century rock star, Liszt was also a man of warm, heartfelt Catholic piety and moving personal generosity.
He held many benefit concerts—among his causes were construction of a monument to Beethoven and flood relief in Hungary—and the stories of his acts of kindness are legion.
[b]Works you'll hear in the lectures are excerpted from:[/b]
[list][*]Etude in 12 Exercises, no. 10 in F Minor (1826)
[*]Grande Fantasie de Bravoure sur La Clochette, variations (1832)
[*]Transcendental Etude no. 10 in F Minor (1851)
[*]Totentanz (1849, revised 1853–1859)
[*]Sonata in B Minor for Piano (1853)
[*]Piano Concerto no. 2 in A Major (1849, revised 1861)
[*]Faust Symphony (1854)
[*]Mephisto Waltz no. 1 (1860)
[*]Christus (1866)
[*]Hungarian Rhapsody no. 19 in D Minor (1885)
[*]Transcendental Etude no. 8, Wilde Jagd (Wild Chase) (1838/1851)
[*]Variation on a Theme by Diabelli (1822)
[*]Arrangement of "Scaffold March" from Berlioz, Symphonie Fantastique (1833)
[*]Divertissement on the cavatina, "I tuoi frequenti palpiti" from Puccini's La Niobe (1833)
[*]From Six Grand Etudes after Paganini: no. 5, "The Chase," and no. 3, "La Campanella" (1838/1851)
[*]Funerailles (1849)
[*]Piano Concerto no. 1 in E-flat Major (1849, revised 1856)
[*]Franciscan Legend no. 1 from St. Francis of Assisi Preaching to the Birds from Franciscan Legend (1863)
[/list]
[hide=Course Lecture Titles]
[list][*]1. Le Concert, C'est Moi—The Concert is Me
[*]2. A Born Pianist
[*]3. Revelation
[*]4. Transcendence
[*]5. Weimar
[*]6. The Music at Weimar
[*]7. Rome
[*]8. A Life Well Lived
[/list][/hide]
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