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After moving to Vienna, where he was also a pupil of Antonio Salieri, he went with his family to Paris, a city where he made the acquaintance of great musicians of his time, such as Chopin, Berlioz, and Mendelssohn. Hearing the greatest violin in history, in 1831, was in fact a real revelation for the young Liszt there, at that moment, he decided to adopt violinistic imprinting in his way of playing, refined in a harmonic language in which bold chromaticisms and sharp and disruptive peaks mix, in a succession of rises and falls, with delicate melodic suites.įranz Liszt, born in a region that at the beginning of the nineteenth century was in the Magyar part of the Austro-Hungarian Empire, at an early age received piano lessons from his father, a strict and ambitious music teacher.
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His life is one of the most exciting novels in the music history of every genre and he was surrounded – a bit like Paganini whom he considered his great artistic model – by an aura of genial artist, violently divided between mystic ecstasy and demonic vocation. Art shows itself to my eyes in all its splendor it reveals itself to me in its universality and unity.įranz Liszt was one of the most brilliant personalities ever in the panorama of classical music: he was an intellectual, a traveler, a writer, a great seducer, a piano virtuoso who could fill concert halls, but above all a tireless composer. In this regard, in a letter to Hector Berlioz, he wrote:īeauty in this privileged country appears to me in its purest and most sublime forms. Totally permeated by the romantic ideal of art as a poetic transfiguration of existence, able to achieve a creative moment of osmosis between poetry, music, and painting, the composer, born Octoin Raiding, Burgenland, was fascinated by the Italian culture and poured his passion for Italy in many of his compositions. Liszt, being the pre-eminent producer of keyboard arrangements of large orchestral works, could have written the keyboard version of Via Crucis simply for the purpose of disseminating the music for individual study and appreciation (as was the case with his transcriptions of much of the symphonic repertoire of the time) such arrangements were a major source of income.Salieri as his first tutor, Paganini as inspiration and aspiration, Dante, Michelangelo, and Tiziano as artistic muses Franz Liszt’s passion for Italy has been translated into a symphony that is not only musical: a real score, lived, felt by the composer with an intense love for our country of which he explored landscapes, literature, lyricism, and traditions translating them into his expressive language. He was in the habit of composing versions of a composition simultaneously for various media in certain cases, no single version necessarily claims priority over the others – and the Via Crucis may be one of these cases. In many cases throughout his career it seems as if Liszt's compositional concepts were not wedded to a particular medium. The question arises whether it ought to be considered a keyboard work at all. The Via Crucis is unique among Liszt's larger late keyboard works.
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These collections, Via Crucis, Historische Ungarische Bildnisse, and Années de pèlerinage, troisième année, all exhibit complex cyclic concepts carrying forward Liszt's work in three important categories: sacred, nationalistic, and programmatic music. Yet three collections of keyboard pieces written in his later years exhibit such substance and scope that they fully warrant consideration as major works on a par with his earlier acknowledged masterworks. He certainly had suffered a crisis of confidence as he approached old age. One might gather that by his later years Liszt had lost the mental acuity and creative energy to complete big projects. Nearly all of the compositions that Franz Liszt wrote later in life were smaller pieces, as opposed to the Faust Symphony, Piano Sonata, and oratorios that crowned his middle period.